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Z?'^ 


LEE  GREENE  RICHARDS.     PORTRAIT  OF  HIS  WIFE. 


DEVOTEES    AND 
THEIR    SHRINES 


A  Hand  Book  of  Utah  Art 


By 

Alice  Merrill  Home 


t 


t 


I 


HE      DESERET      NENA/! 

SALT     LAKE     CITV 

1914- 


Copyright,   1914,  by 
ALICE  MERRILL  HORNE. 


<S  b  Ho  t> 


^o  Pate  ®I|0nia0. 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/devoteestheirshrOOhornrich 


Foreword. 

Every  spirit  which  enters  mortality  comes  stamped  with  Infinity — 
with  a  power  to  reach  out  and  grow  inimitably.  This  heaven-given 
possibility  is  intensely  individual  in  character ;  since  that  identity  comes 
from  the  fact  that  each  soul  has  within  it  a  gift,  a  possibility,  a  power, 
a  characteristic,  what  you  will,  which  distinguishes  it  from  any  other 
soul.  Who  can  conceive  of  a  nobler  effect  of  higher  law  than  the  indi- 
viduality of  soul  ?  As  a  people  we  build  upon  the  belief  that  soul  iden- 
tity will  in  its  very  nature  survive  even  through  the  ages  of  eternity. 
Actual  experience  demonstrates  that  each  one  of  our  friends  is  superior 
in  some  particular  way,  not  only  to  us  but  to  all  our  other  friends. 

The  insight  to  recognize  the  capabilities  of  those  among  whom  one 
moves,  marks  the  degree  of  greatness  in  leadership.  And  the  true 
leader  organizes  these  forces  to  advance  his  own  high  purposes,  feeling 
a  double  joy  in  the  knowledge  that  his  comrades  grow  with  him  by 
using  their  gifts.  However,  it  is  not  sufficient  that  others  are  helped 
to  a  realization  of  themselves.  Each  soul  has  a  higher  duty :  to  dis- 
cover his  own  infinity.  In  the  secret  moments,  something  will  whisper, 
''You  can;  you  iniist."  Though  it  necessitate  devotion  and  sacrifice, 
listen  to  the  infinite  of  vour  soul  when  it  calls ! 


LEONARDO  DA  VINCI.    THE  LAST  SUPPER. 


Milan. 


Introductory. 


Poverty  is  a  poor  excuse  for  ugliness  and  wealth  can  never  get 
rich  enough  to  purchase  good  taste.  But  God  has  created  gifts,  and 
men  work  so  that  we  are  not  without  poets,  painters,  sculptors,  arch- 
itects, craftsmen,  gardeners  and  home  makers.  So  long  as  talent  and 
indu.stry  unite  there  will  be  art — original,  spontaneous,  inspirational — 
the  kind  that  lives. 

We  are  all  artists  to  a  degree,  or  at  least  let  us  believe  that  Provi- 
dence so  intended.  There  are  those  who  wall  themselves  away  from 
the  beautiful.  The  Idolater  of  Gold,  pursuing  the  problem  that 
one  and  one  make  57,  reaching  past  the  flower  for  the  glittering  dollar, 
will  gradually  lose  himself  in  'the  narrowing,  tightening,  deadly  mesh 
of  the  ugly.  And  that  thing  sometimes  called  an  educated  man — but 
wrongly — (because  his  study,  his  thoughts,  his  inspirations  and  aspira- 
tions, all  begin  on  the  printed  page  instead  of  springing  from  his  inner- 
self),  is  equally  barren  of  power  to  recognize  or  think  beauty. 


A  Handbook  of  Utah  Art.  9 

But  for  ''him  who  holds  communion  witli  nature"  hfe  has  a  meas- 
ure of  sweetness;  no  matter  whetlier  lie  escapes  from  the  sweat-shop  or 
the  stuffy  office  or  the  school-room  into  the  green  pastures,  or  under 
the  grateful  shade  of  the  mountain  pine,  he  pauses  transfixed  with  joy 
at  the  call  of  the  lark.  The  touch  of  nature's  carpet  soothes  the  ache 
of  his  board-born  feet.  The  pungent  pine  awakens  and  greets  his 
dulled  senses.  The  bigness  of  the  starry  vault  relieves  tlie  weight  of 
the  dingy  office  that  has  pressed  upon  his  brain  seemingly  to  crowd  out 
the  dear  light  of  heaven. 

Have  you  read  C.  C.  Goodwin's  description  of  the  Shoshone  Falls? 
In  a  life-time  the  painter's  brush  could  not  repeat  that  story.       All 


The  Aprodite  of  Melos  (Venus  de  Milo),  goddess  of  love  and  beauty.  The 
most  beautiful  woman  in  marble — a  type  of  grace  and  physical  perfection.  The 
most  choice  work  of  art  in  the  Louvre.  It  stands  in  a  room  by  itself  at 
the  end  of  a  long  gallery.  One  could  weep  at  the  first  distant  view.  No  matter 
from  what  view  it  is  studied,  it  brings  some  sweet  and  wonderful  surprise. 


10  Drcotees  and  their  Shrines. 

vehicles  of  art  expression  have  their  limitations.  The  artist  must 
select  a  subject  that  he  can  make  more  beautiful  in  the  telling.  A 
painter  reveals  beauties  of  which  you  had  scarcely  dreamed  when  he 
chooses  well  his  theme. 

Such  as  the  Shoshone  Falls  is  too  tremendous  to  be  put  upon  a 
canvas.  Mr.  Goodwin  has  shown  the  suitability  of  such  themes  to  the 
poet  and  writer.     The  author  can  in  the  same  sentence  fly  from  the 


Nike,  the  goddess  of  victory,  also  in  the  Louvre,  was  conceived  as  a  winged 
being  attendant  upon  Zeus  and  Athena  who,  controlled  the  destinies  of  war — a 
tribute  to  the  wonderful  success  of  Demetrius  over  Ptolemy's  fleet  before 
Salaniis.  The  statue  was  erected  at  Samothrace  and  represented  Nike  standing 
on  the  prow  of  a  vessel  as  if  leading  the  fleet  to  success.  The  figure  is  in  an 
erect  poise  with  the  chest  held  high.  The  attitude  expresses  exhilaration  from 
the  rush  of  wind  in  the  face  of  one  borne  rapidly  along  by  a  boat. 


A  Handbook  of  Utah  Art.  11 

flower  on  the  river  bank  to  the  most  distant  peak,  from  one  side  of  the 
canyon  to  many  cascades  in  the  opposite  direction.  Sunshine  and 
cloud  effects,  rainbows  and  Hghtning's  flash,  may  be  mentioned  in  one 
breath.  Not  so  the  painted  picture.  Its  story  is  the  harmony  of  a 
single  moment  of  time.  The  great  artist  chooses  that  subject  and  that 
moment  best  suited  to  his  vehicle  of  self  expression.  Such  choice  is 
known  as  the  pon'cr  of  selection.  The  Last  Supper  inspires  greater 
adoration  than  would  the  world's  crowned  heads  with  all  their  mag- 
nificent retinues  added.  The  Venus  de  Milo  is  more  beautiful  than 
any  woman.  Nike,  the  Winged  Goddess  of  Victory,  furnishes  more  for 
man's  imagination  than  a  canvas  covered  with  mountains.  And  Mona 
Lisa  awakens  more  questionings  than  the  Niagara  Falls,  when  confined 
to  a  canvas  six  by  nine. 

At  a  recent  exhibition  a  very  intelligent  lady  said,  "I  should  hke 
to  go  more  often  to  the  exhibitions  but  I  don't  know  how  to  criticize 
the  pictures."  When  you  go  to  hear  the  best  music  it  is  to  listen  and 
enjoy.  You  attend  a  lecture  to  be  taught.  You  should  go  to  the  art 
gallery  to  use  your  eyes,  to  learn  from  the  artist,  to  try  to  understand 
what  he  has  to  say.  But  if  you  will  go  looking  for  faults,  behold  them ; 
they  are  there !  In  the  best  picture  ever  painted  a  fault  could  be  found. 
We  must  put  ourselves  in  sympathy  .with  the  picture.  Is  it  painted  to 
express  beauty  of  line,  or  tone,  or  color,  or  mass  ?  Study  to  find  the 
motive.  The  artist  may  have  painted  it  to  express  vibration  of  light ; 
he  may  be  reproducing  a  low-keyed  evening  effect,  or  seeking  to  express 
repose  or  its  opposite,  animation,  in  a  portrait,  or  perhaps  only  a  beau- 
tiful arrangement  of  color  expressed  through  flowers.  The  same 
subject  can  be  painted  in  a  dozen  different  ways  to  express  a  different 
manner  of  vision. 

W^hen  you  go  to  an  exhibition  study  each  picture  carefully,  look- 
ing for  good  color,  simplicity,  good  composition,  drawing,  tone,  feeling, 
agreeable  proportions,  rhythm  and  balance.  You  will  find  one  or 
more  of  these  great  qualities.  To  incorporate  all  would  be  impossible. 
The  charm  of  the  Anonymous  Old  Master  is  its  absolute  simplicity. 
On  the  other  hand  Raphael's  wonderful  Sistine  Madonna  is  a  com- 
bination of  many  details.  Its  pozver  is  in  its  pattern  made  by  careful 
balancing  of  spaces  and  of  masses,  arrangement  of  line  and  color,  pro- 
ducing a  beauty  so  deep  that  it  creates  the  most  profound  emotion. 
Elimination  and  arrangement  are  very  important  features  in  a  picture. 
Study  this  Raphael's  masterpiece  and  you  will  discover  that  nothing 
could  be  left  out  without  destroying  the  beauty  of  the  picture.  Every 
line  swings  and  leads  to  the  dominant  subject — "Mother  and  Child." 
It  becomes  the  very  essence  of  divine  motherhood,  which  is  the  culmina- 
tion of  mortal  joy ! 


LEONARDO  DA  VINCI.     MONA  LISA.     LOUVRE,  PARIS. 


ANONYMOUS  OLD  MASTER. 


RAPHAEL.    SISTINE  MADONNA.    DRESDEN. 


16 


Devotees  and  their  Shrines. 


The  painter  who  resorts  to  mechanical  methods,  such  as  sun  print 
and  reflectoscope,  should  not  charge  more  than  the  photographer.  I 
have  respect  for  the  honest  photograph  but  the  photographic  painting 
is  a  sham.  The  camera  and  the  artist  have  widely  differing  fields. 
The  photographer  approaches  nature  with  a  machine.  A  similar  con- 
trivance could  repeat  the  result.  The  artist  brings  brains,  feelings, 
emotions.  James  McNiel  Whistler's  painting  of  his  mother  is  the  very 
antithesis  of  the  photograph.  It  is  the  rendition  of  a  soul.  Whistler 
did  more  than  paint  his  mother's  portrait.     He  painted  all  our  mothers. 


This  portrart  bust  of 
Alfred  Lambourne  by 
Mahonri  M,  Young  is 
not  great  because  of  its 
faithful  facial  resem- 
blance but  because  it 
reveals  the  gifted  man 
at  his  most  exalted  mo- 
ment and  because  the 
sculptor  shows  his  own 
wonderful  sympathy  for 
his  model,  the  artist 
poet 


Devotees  and  their  Shrines 


Historic. 

There  never  was  an  artistic  period. 
There  never  was  an  art-loving  nation. 

In  the  beginning-,  men  went  forth  each  day — some  to  do  battle,  some 
to  the  chase;  others,  again,  to  dig  and  to  delve  in  the  field — all  that  they 
might  gain  and  live,  or  lose  and  die.  Until  there  was  found  among 
them  one,  differing  from  the  rest,  whose  pursuits  attracted  him  not, 
and  so  he  stayed  by  the  tents  with  the  women,  and  traced  strange 
devices  with  a  burnt  stick  upon  a  gourd.  This  man,  who  took  no  joy 
in  the  way  of  his  brethren — who  cared  not  for  conquest,  and  fretted  in 


18  Dei'otecs  and  their  Shrines. 

the  field — this  designer  of  quaint  patterns — this  deviser  of  the  beautiful 
— who  perceived  in  Nature  about  him  curious  carvings,  as  faces  are 
seen  in  the  fire — this  dreamer  apart  was  the  first  artist. 

And  when,  from  the  field  and  afar,  there  came  back  the  people, 
they  took  the  gourd — and  drank  from  out  of  it.  And  presently  there 
came  to  this  man  another — and,  in  time,  others — of  like  nature,  chosen 
by  the  gods — and  so  they  worked  together;  and  soon  they  fashioned, 
from  the  moistened  earth,  forms  resembling  the  gourd.  And  with  the 
power  of  creation,  the  heirloom  of  the  artist,  presently  they  went  be- 
yond the  slovenly  suggestion  of  Nature,  and  the  first  vase  was  born,  in 
beautiful  proportion. 

And  the  Amateur  was  unknown — and  the  Dilettante  undreamed  of. 

And  history  wrote  on,  and  conquest  accompanied,  civilization,  and 
Art  spread,  or  rather  its  products  were  carried  by  the  victors  among 
the  vanquished  from  one  country  to  another.  And  the  customs  of 
Cultivation  covered  the  face  of  the  earth,  so  that  all  peoples  continued 
to  use  what  the  artist  alone  produced.  And  centuries  passed  in  this 
using,  and  the  world  was  flooded  with  all  that  was  beautiful,  until  there 
arose  a  new  class,  who  discovered  the  cheap,  and  foresaw  a  fortune  in, 
the  facture  of  the  sham. 

Then  sprang  into  existence  the  tawdry,  the  common,  the  gewgaw. 

The  taste  of  the  tradesman  supplanted  the  science  of  the  artist,  and 
what  was  born  of  the  million  went  back  to  them,  and  charmed  them, 
for  it  was  after  their  own  heart ;  and  the  great  and  the  small,  the  states- 
man and  the  slave,  took  to  themselves  the  abomination  that  was  ten- 
dered, and  preferred  it — and  have  lived  with  it  ever  since.  And  the 
artist's  occupation  was  gone,  and  the  manufacturer  and  the  huckster 
took  his  place. 

And  now  the  heroes  filled  from  the  jugs  and  drank  from  the  bowls 
— with  understanding — noting  the  glare  of  their  new  bravery,  and  tak- 
ing pride  in  its  worth.  And  the  people — this  time — had  much  to  say 
in  the  matter — and  all  were  satisfied.  And  Birmingham  and  Man- 
chester arose  in  their  might,  and  Art  was  relegated  to  the  curiosity  shop. 
—Whistler's  "Ten  O'clock"  Lecture. 


These  are  specimens  of  the  industrial  art  of  the  ancient  "Cliff 
Dwellers,"  the  primitive  American  Indians,  the  ancestors  of  the  Pueblo 
Indians  of  our  great  southwest.  When  you  examine  them  closely  and 
note  that  each  piece  of  pottery  has  been  built  up  by  hand  by  coiling  one 
strip  of  carefully  prepared  clay  upon  another  and  then  all  patiently 


A  Handbook  of  Utah  Art, 


19 


smoothed,  polished,  dried,  decorated  and  fired,  you  begin  to  reahze  the 
wonderful  industry  and  artistic  ideals  manifested.  These  were  no 
blind  workers  of  a  day,  mechanically  following  instinct,  but  immortal 
souls  with  a  divine  appreciation  of  the  beauties  in  God's  world  about 
them  slowly  groping  their  way  toward  a  nobler  understanding  of  the 
Great  Father. — Byron  Cummings. 


20 


Devotees  and  their  Shrines. 


ARCHITECTURE  IN  THE  EARLY  FIFTIES. 

With  a  strong  feeling  for  art  and  architecture  inspiring  Brigham 
Young,  it  is  a  matter  of  little  surprise  that  the  beginnings  of  things  in 
Salt  Lake  Valley  should  have  been  so  artistic. 

In  the  early  fifties  a  distinctive  group  of  structures  appeared — the 
Lion  House,  President's  Office,  Bee-hive  House,  Eagle  Gate,  Eigh- 
teenth ward  school  house  and  the  White  House  on  the  hill.  These 
were  held  together  by  the  pleasing  lines  of  strong,  thick,  high,  cobble- 
stone walls  intersected  with  but- 
tresses and  with  doors  both  large  and 
small.  A  row  oi  hitching  posts  con- 
nected with  draped  chains  flanked  the 
sidewalk,  agreeably  repeating  the 
wall  spacing,  and  altogether  lend- 
ing dignity  and  privacy  to  the 
whole  scheme.  The  design  is  ex- 
cellently shown  in  cut  (a)  from  a 
photograph  by  M.  Cannon  in  1861. 
Truman  O.  Angell  and  William 
AVard,  associate  architects  of  the 
Salt  Lake  Temple,  w^ere  the  de- 
signers of  these  buildings.  Ward 
cut  the  lion  for  the  Lion  .House 
and  Ralph  Ramsey  carved  the  bee- 
hive and  also  the  first  eagle  that 
adorned  the  original  Eagle  Gate. 
The  Eighteenth  Ward  school 
house,  where  President  Young's 
children  attended  school,  is  now 
replaced  by  the  "Bransford."  The 
White  House  still  stands,  and  is 
owned  by  Mrs.  Julia  P.  AI.  Farns- 
worth. 

(b)  Shows  Lincoln's  inaugural 
procession  draw^n  up  before  tliC 
^'President's  Office,"  March  4, 
1865.  The  procession  is  headed 
by  the    "Overland    Route"    stage 

(a)  Presidents  Office.  COaCh. 

(b)  Lincoln's    Inaugural    Procession.  (c) 'The  Salt  Lake  Theatre,  pho- 

(c)  Theatre. 

(d)  Tabernacle.  tographcd  in   1865,  by  Savage   t^ 


A  Handbook  of  Utah  Art. 


21 


(f)      Residence  of  D.  H.  Wells. 


(e)      Residence  of  Geo.  A.  Smith. 


Ottinger.  In  this  building  a  few  months  later,  Julia  Dean  Hayne  read 
Sarah  Carmichael's  poem,  "Toll  Slowly,"  to  a  great  memorial  assem- 
bly for  the  martyred  president — Abraham  Lincoln. 

(d)  The  Tabernacle  during  course  of  erection. 

(e)  President  George  A.  Smith's  residence — the  Historian's 
Office,  still  standing — the  birthplace  of  Clarissa  S.  Williams,  first  vice- 
president  of  the  Relief  Societies  in  all  the  world. 

(f)  President  Daniel  H.  Wells'  fine  old  colonial  residence,  long 
since  replaced  by  the  Templeton  Building. 

THE  FIRST  ART  SCHOOL. 


The  year  1863  marks  the  organization,  in  Great  Salt  Lake  City,  of 
the  first  Art  school  in  the  entire  West — The  Deseret  Academy  of  Arts. 

The  Deseret  Academy  of  Arts  opened  its  doors  to  students  in  a 
building  just  south  of  the  present  site  of  the  National  Bank  of  the 
Republic,  the  use  of  which  was  tendered  by  Bishop  George  Romney. 

The  officers  of  the  school  were:  President,  George  Martin  Ot- 
tinger, landscapist  and  figure  painter ;  vice-president,  William  Morris, 
decorator  (father  of  the  late  gifted  decorator  and  colorist,  *'Billy" 
Morris);  secretary,  E.  L.  T.  Harrison,  architect;  treasurer,  the  late 
C.  R.  Savage,  photographer.  Additional  directors  of  the  institution 
were  William  Folsom,  architect;  William  Silver,  pattern  maker  and 
machinist,  and  Dan  Weggeland,  painter  of  landscape  and  figure.  The 
faculty  was  unique  in  scope  and  art  attainment  and  showed  that  ambi- 
tion and  power  of  initiative  that  is  the  main  characteristic  of  the  pioneer. 
Ottinger,  Weggeland  and  John  Tullidge,  (brother  of  Edward  Tullidge 
of  Western  magazine  fame),  instructed  in  painting,  landscape  and 
figure,  sketching  and  perspective ;  Harrison  and  Folsom  taught  archi- 
tecture, and  Silver  conducted  classes  in  mechanical  drawing.     When 


22  Devotees  and  their  Shrines. 

wood  hauling,  agricultural  pursuits,  or  public  work  prevented  a 
teacher's  attendance  at  the  studio,  his  co-workers  readily  undertook  to 
conduct  his  classes.  Speaking  of  that  first  art  school,  Mr.  Ottinger 
says,  '*We  had  a  good  class  which  survived  ten 'months.  At  the  end 
of  that  time  we  realized  it  was  a  little  premature." 

WILLIAM  FOLSOM. 

WiUiam  Folsom,  the  son  of  a  builder  and  contractor  of  Buffalo, 
New  York,  worked  upon  the  temple  in  Nauvoo  but  took  no  part  in  its 
design.  When  he  was  chosen  architect  for  the  tabernacle.  President 
Brigham  Young  said,  "We  want  something  like  this,"  (opening  up  his 
umbrella  and  holding  it  as  a  shelter  over  his  head).  "Could  you  make 
a  building  like  this?"  Folsom  replied,  "I  can  try."  This  was  enough. 
Brigham  Young  had  made  the  suggestion :  Mr.  Folsom  accepted  it  as 
inspiration  and  therefore  possible.  In  this  openness  to  the  thought 
and  needs  of  his  patron,  he  established  his  rating  as  an  architect.  Pres- 
ident Young  was  a  natural  leader.  He  selected  men  of  intelligence 
and  knowledge  and  power  of  imagination  to  perform  such  offices.  His 
naive  placing  of  implicit  confidence  in  them  inspired  the  best.  The 
Tabernacle  today  is  one  of  the  world's  unique  buildings.  The  Salt  Lake 
Theatre,  too,  was  Folsom's  architecture.  This  is  a  worthy  work,  and 
loved  by  all  Utahns,  not  only  for  its  beauty  but  for  its  associations  with 
the  past.  William  Folsom  designed  the  Manti  and  St.  George  Tem- 
ples, the  Provo  Theatre  and  tabernacle,  and  the  Moroni  tabernacle. 
The  Folsoms  as  a  family  are  builders.  Hinman  D.  Folsom  is  the  de- 
signer and  builder  of  the  Cardston  tabernacle.  Canada. 

While  William  Folsom  was  in  partnership  with  Obed  Taylor,  the 
latter  designed  the  mansard  houses  of  Feramorz  Little  on  First  South 
and  Second  East  streets,  and  the  George  Q.  Cannon  house  on  West 
South  Temple. 

AMELIA  FOLSOM  YOUNG. 

Amelia  Folsom  Young,  wife  of  Brigham  Young  and  a  daughter  of 
William  Folsom,  was  also  gifted  in  architecture.  She  helped  to  plan 
and  made  many  suggestions  for  the  "Gardo  House,"  now  called  by  its 
owner,  Mrs.  Emery  Holmes,  the  "Amelia  Palace,"  which  was  designed 
and  erected  by  Mr.  Joseph  H.  Ridges.  Mrs.  Young  built  a  home  for 
herself  and  retired  from  the  "Gardo  House."  Later,  as  the  business 
houses  hemmed  her  in.  she  built  another  residence,  always  weaving 
her  own  ideas  into  the  design  and  finishing  details  for  her  homes. 


A  Handbook  of  Utah  Art. 


23 


SALT  LAKE  THEATRE. 


E.  L.  T.  HARRISON. 

E.  L.  T.  Harrison,  associate  architect  with  William  Folsom,  of 
the  Salt  Lake  Theatre,  came  from  that  most-interesting-of-all-cities-in- 
the-world,  London.  He  was  born  and  bred  at  Woolwich,  a  shipping 
town,  where  his  father  was  engaged  in  the  designing  and  building  of 
ships.  Harrison  was  sent  to  London  to  study  architecture  at  the  best 
schools  and  had  great  opportunities.  We  find  him  en  route  for  Utah 
in  1860.  But  he,  like  many  others,  who  undertook  that  long  and 
perilous  journey  by  ox-team,  was  overtaken  by  a  tragedy.  In  a  lonely 
spot  the  company  halted  long  enough  to  make  a  rough  grave  in  which 
to  lay  his  young  bride.  Harrison  made  every  effort  to  mark  the  grave. 
He  drew  a  close  study  of  every  object  near  and  the  mountains  and  sky 
lines,  hoping  to  return  and  recover  her  ashes.  The  place  was  never 
found. 

Upon  his  arrival  in  "The  Valley"  the  walls  of  the  Salt  Lake 
Theatre  were  up  and  President  Young  was  ready  to  put  him  to  work 
with  William  Folsom  to  complete  that  beautiful  building.  Harrison 
being  familiar  and  in  sympathy  with  the  best  pnglish  architecture  came 
like  an  inspiration  from  the  art  of  the  old  world.  He  had  great 
admiration  for  Drury  Lane  and  now  desired  to  apply  some  such  arch- 


24 


Devotees  and  their  Shrines. 


itectural  treatment  to  the  Salt  Lake  Theatre,  which  had  distinctive  pos- 
sibihties.  He  designed  the  ceihng — beautiful,  elaborate,  the  boxes  with 
their  ornate  and  lacy  filigree,  the  proscenium,  and  galleries,  which  re- 
main to  this  day  examples  of  his  masterful  architectural  work. 

The  women  of  "The  Valley"  were  ladies  of  culture,  refinement  and 
spirituality.  Hungering  for  the  beautiful,  they  brought  him  their  first 
window  blinds  of  buff  or  green  which  he  decorated  with  little  scenes. 
I  remember  them  in  several  of  the  fine  old  homes.  Harrison  taught 
architecture  in  private  classes  at  his  residence  and  in  the  Deseret 
Academy. 

Of  his  architecture  were  the  first  barracks  at  Fort  Douglas,  the  old 
Octagon  House  on  East  Second  South,  the  corner  store  where  Mc- 
Cornick's  Bank  now  stands,  the  Godbe-Pitts'  drug  store,  the  Grand 
Theatre,  Atlas  Block,  Daft  Block,  the  buildings  erected  by  Henry  W. 
Lawrence  on  West  Temple  street,  the  Walker  residences  recently  torn 
down  on  South  Main,  the  W.  S.  Godbe  residence  on  East  First  South, 
Commissioner  Henry  W.  Lawrence's  residence,  and  the  architect's  own 
home,  still  standing,  near  the  site  of  the  capitol  building.  This  house 
retains  the  decorations  painted  by  John  Tullidge. 

GEORGE  M.  OTTINGER. 

George  Martin  Ottinger  has  been  an  integral  part  of  Utah  art 
societies  and  exhibitions.  He  was  for  many  years  teacher  of  drawing 
and  perspective  in  the  University  of  Utah.     He  has  served  as  president 


OTTINGER.     INDIAN  TKIMMJIS. 


26 


Dez'otees  and  their  Shrines. 


OTTINGER.     PIONEER  TRAIN. 

of  both  the  Deseret  Academy  of  Fine  Arts  and  the  Utah  Art  Institute. 
While  sagebrush  still  grew  high  in  many  of  the  streets  of  Salt 
Lake  City,  Ottinger  arrived  by  ox-team.  The  theatre  walls  were  then 
up  and  Brigham  Young  set  him  at  work  upon  the  stage  scenery.  For 
four  years  he  painted  scenes,  being  assisted  by  William  Morris  and 
Henry  Maiben.  The  former  had  been  a  decorator  in  London,  England, 
though  of  Welsh  extraction.  His  son  painted  the  figures  still  to  be 
seen  on  the  ^'Theatre"  ceiling.  Ottinger  made  the  first  scene  used  in 
the  Salt  Lake  Theatre.  Speaking  of  his  art  life  he  says :  "I  have  been 
sketching  all  my  life  here  or  while  traveling  in  Europe,  Asia,  Africa, 
North  and  South  America,  and  many  islands  of  the  sea.  It  seems  to 
me  I  have  always  been  most  interested  in  'Old  America.'  This  subject 
«•  presented  a  clear  field ;  no  artist  had  preceded  me.  I  crossed  and  re- 
crossed  what  is  now  called  the  Panama  Canal  zone.  The  memory  and 
pencil  sketches  of  those  days  have  furnished  material  for  all  the  Pre- 
Columbian  subjects;  which  I  have  so  many  times  %ince  depicted." 
Ottinger  has  a  special  feeling  for  landscape.  Perhaps  his  greatest 
work  is  "Capeca  de  paca,"  an  historical  picture  referring  to  the  year 
1536,  when  a  group  of  four  men  made  the  initial  journey  across  the 
continent.  The  route  lay  through  the  mesas  of  northern  Texas,  through 
Arizona,  New  Mexico,  and  California. 

Ottinger,  when  a  boy,  ran  away  to  sea,  because  his  family  insisted 
on  the  medical  profession  for  him.  He  returned  home  on  the  day  of 
his  majority,  and  his  people,  who  had  given  him  up  for  dead,  making 


A  Handbook  of  Utah  Art.  27 


OTTINGER.  NEVER  HEARD  FROM. 

no  further  objection  to  his  art  study,  he  went  to  study  from  the  best 
masters  that  the  East  afforded. 

Mr.  Ottinger  is  still  painting,  and  a  visit  to  his  studio  will  carry 
you  back  to  the  beginnings  of  Utah  Art. 

DANIEL  WEGGELAND. 

Daniel  Weggeland,  from  the  land  of  the  Vikings,  has  been  an 
artist  from  his  boyhood.  He  began  his  career  in  the  best  art  school  of 
Copenhagen,  continuing  two  years  in  England.  Berlin  also  gave  him 
of  her  store.  He  was  a  linguist,  speaking  the  Scandinavian  tongues, 
German  and  English.  This  father  of  Utah  Art  has  had  an  influence 
in  favor  of  art  study  abroad.  The  "younger  set"  of  artists  hold  "Dan" 
Weggeland  in  great  respect.  His  pictures  do  not  go  before  a  jury  as 
is  the  custom  in  exhibitions,  his  work  being  immediately  accepted. 
Dan  Weggeland  worked  two  years  on  scenery  for  the  Salt  Lake  Theatre 
and  with  him  was  associated  Billy  Morris.  His  best  work  is  in  the 
Salt  Lake  Temple.  His  best  qualities  are  tenderness,  sympathy  and 
composition.  He  excels  in  grouping.  His  pictures  suggest  the  pioneer 
life.  Fiords  of  Norway  are  favorite  themes.  Though  his  career  has 
led  through  a  diversified  path  beset  with  difficulties  and  trials,  yet  he 
still  retains  wonderful  sweetness  of  soul  and  in  his  89th  year  looks 
serenely  and  calmly  into  the  future,  painting  the  scenes  he  loves  best. 


A  Handbook  of  Utah  Art. 
C  C.  A.  CHRISTENSEN. 


29 


C.  C.  A.  Christensen,  artist  and  Danish  poet,  drew  a  handcart 
across  the  plains  in  '57. 

It  was  a  custom  in  his  native  home,  Copenhagen,  that  at  fourteen 
a  boy  was  confirmed  and  set  to  learning  a  trade.  Carl's  work  was 
cabinet  making.  At  school  he  had  shown  great  cleverness  in  free  hand 
cutting  of  paper.  The  widow  of  an  admiral  discovered  him  and  he 
was  invited  to  her  palace.  Scissors  and  paper  were  furnished  and  he 
passed  muster  before  an  invited  company  of  ladies.  Carl's  friend 
placed  him  in  an  art  school  in  Copenhagen  for  five  years.  He  wrote 
Danish   hymns   and   made   some  translations    from   English   into   his 


' 

^M 

i 
1 

Miiil 

f:^_ 

U 

r  m^     ISIL^ 

"t -^ 

%^^'^ 

^PHi 

CHRISTIANSEN.     HAND  CART  SCENE. 


After  marrying  a  Norwegian  lady  he  came  to  Utah, 
and  settled  in  Sanpete  county.  He  also  did  work  on  the  scenery  for 
the  Theatre.  Old  "settlers"  will  remember  his  Mormon  Panorama, 
made  of  twenty-two  scenes  in  water  colors,  eight  by  twelve  feet  in  size. 
His  favorite  themes  were  pioneer  subjects  and  wheat  fields. 

His  passion  for  the  art  life  was  never  satisfied.  Cast  apart  from 
art  influence,  his  life  was  one  of  self  suDoression  and  toil.  His  most 
happy  years  were  spent  with  Daniel  We^o-e^and  in  decorating  the 
interiors  of  the  Logan,  Manti,  and  St.  George  Temples.  He  died  re- 
centlv  at  Ephraim.  But  few  of  his  neiefhbors  ever  understood  his  gift 
nor  dreamed  of  his  life  of  dailv  sacrifice. 


30  Devotees  and  their  Shrines. 

THE  ORGAN  BUILDER. 

Joseph  H.  Ridges  is  a  genius.  He  was  born  in  a  London  suburb, 
on  the  other  side  of  the  street  from  an  organ  factory.  He  grew  up 
under  its  influence,  watching,  listening,  absorbing  its  most  minute 
details  of  each  process  of  organ  building.  Gradually  through  years  of 
listening  to  the  sounding  of  pipes,  he  built  up  a  fine  critical  sense  for 
musical  tones.  His  interest  was  not  confined  to  the  factory.  He  made 
excursions  to  the  churches  thereabouts  to  get  closely  acquainted  with 
each  organ.  More  than  once  he  was  locked  in  and  busied  himself 
happily  until  "vespers."     By  trade  he  was  a  cabinet  maker  and  builder. 

Catching  the  "gold  fever,"  he  went  to  Austraha,  where  there  were 
no  organs.  His  quest  for  gold  ended  in  quietly  building  an  organ  in  a 
two-story  house.  The  sounding  of  the  first  notes  brought  the  excited 
inhabitants  of  Sydney  worshiping.  Ridges  met  people  from  Utah  and 
decided  to  take  his  instrument  to  the  remote  city  by  Great  Salt  Lake. 
He  sealed  the  various  parts  of  the  organ  in  tin  receptacles,  which  he 
placed  in  strong  boxes  that  he  had  made  from  Australian  mahogany. 
Almost  all  of  this  priceless  wood  was  afterward  used  in  the  cabinet  for 
the  great  Tabernacle  organ.  The  few  remaining  pieces  were  carved 
into  furniture  for  Brigham  Young,  by  the  tabernacle  carver,  Ralph 
Ramsey. 

Ridges  put  to  sea  with  his  organ,  landing  at  San  Diego,  California, 
where  he  was  met  by  Amasa  Lyman,  who  assisted  in  freighting  the 
instrument  from  San  Bernardino  to  Great  Salt  Lake  City.  Ridges 
accomplished  this  feat  without  damage  to  his  precious  freight  which 
was  soon  set  up  in  the  old  tabernacle,  where  the  Assembly  Hall  now 
stands. 

H  the  influence  of  this  organ  had  been  great  in  Sydney,  in  the 
heart  of  the  great  American  desert  it  was  stupendous.  As  the  great 
Tabernacle  took  shape  the  idea  grew  that  it  must  have  an  organ  com- 
mensurate with  its  size  and  dignity.  Brigham  Young,  always  open  to 
inspiration,  proposed  at  a  meeting  in  the  old  tabernacle  that  such  an 
organ  be  built.  This  proposal  was  enthusiastically  supported  by 
George  A.  Smith,  Daniel  H.  Wells,  D.  O.  Calder,  Judge  Alexander 
Pyper,  Dr.  Benedict  and  others. 

Mr.  Ridges  says:  "Brigham  Young  sent  for  me  and  asked  if  it 
were  possible  to  build  a  large  church  organ  in  Utah.  I  told  him  I 
thought  it  could  be  done,  whereupon  he  instructed  me  to  draw  pre- 
liminary plans.  I  worked  for  weeks  on  them  at  Truman  O.  Angell's 
office.  My  whole  scheme  for  the  great  organ,  plans  and  elevation, 
were  approved  by  President  Young,  after  which  he  said,  walking  up 
and  down,  'Can  we  do  this  thing?     Yes;  we  can;  we  can  do  anything 


A  Handbook  of  Utah  Art. 


31 


on  which  we  put  our  minds.  Go  ahead  with  this,  Brother  Ridges.'  " 
They  went  ahead,  though  there  was  no  telegraph  to  carry  orders 
for  supplies ;  no  iron  horse  to  do  duty.  They  sent  out  scouts  on  horse- 
back, who  exacted  tribute  from  the  mountains,  bringing  their  precious 
loads  by  ox-team.  St.  George  pine  (being  most  free  from  gum  and 
pitch)  was  hauled  five  hundred  miles  over  five  ranges  of  mountains. 


THE  GREAT  ORGAN  DESIGNED  AND   BUILT  BY 
JOSEPH  H.  RIDGES. 


32  Dez'otecs  and  their  Shrines. 

St.  George  pine  made  resonant  pipes.  Glue,  boiled  in  great  kettles  on 
temple  block,  was  manufactured  from  cattle  that  had  died.  The  pelts 
were  used  for  leather  for  the  great  bellows.  And  who  would  travel 
two  thousand  miles  for  nails?  These  men  got  the  habit  of  achieve- 
ment. Every  thing  was  handled  with  the  touch  of  love.  As  the 
pillars,  entablature,  towers  and  domes  grew  under  their  hands,  joy  was 
manifest.  And  when  the  great  instrument  began  to  show  itself — the 
great  bellows  and  strong  frames,  carrying  their  huge  wind  chests  and 
the  multitude  of  pipes,  standing  in  readiness,  enthusiasm  became  tense. 
But  the  climax  came  when  the  thirty-two  foot  pipe  was  put  in  place. 
At  its  first  note  Ridges  leapt  into  the  air  with  every  fibre  of  his  being 
electrified.     And  scores  of  people  gathered  from  their  homes  to  hear. 

Mr.  Ridges,  (my  good  neighbor  for  many  years),  says,  "Upon 
this  pipe  I  had  concentrated  my  greatest  effort  and  hope.  It  was  a 
tremendous  undertaking,  but  we  had  used  our  brains  and  had  not 
spared  our  muscles.  /  sounded  the  note.  It  zcas  as  if  God  had  spoken 
and  the  zchole  chorus  of  angels  zcere  shouting  HosannaH" 

RALPH  RAMSEY. 

In  all  that  is  dainty  and  lovable  he  finds  hints  for  his  own  com- 
binations, and  thus  is  Nature  ever  his  resource  and  always  at  his  service, 
and  to  him  is  naught  refused. — Whistler's  Ten  O'clock  Lecture. 

Ralph  Ramsey  was  born  in  Leddlesfell,  England,  Jan.  22,  1824. 
He  studied  the  art  of  carving  in  Newcastle-on-Tyne  and  came  to 
Utah  in  the  first  handcart  companv,  arriving  in  "The  Valley"  Sept. 
30,  1856. 

All  the  carving  on  the  great  Tabernacle  organ,  some  carving  in 
the  Salt  Lake  Theatre,  the  bee-hive  and  eagle,  were  his  workmanship. 
The  design  for  the  hall-tree  for  the  President's  Office  was  one  of  his 
most  pleasing  efforts,  and  is  reproduced  on  the  opposite  page.  It  is 
now  in  the  possession  of  the  Daughters  of  the  Utah  Pioneers.  His 
favorite  woods  for  carving  were  quaking  aspen,  red  cedar  and  black 
walnut.  Perhaps  his  most  charming  piece  of  carving  is  the  mantel 
designed  for  Mrs.  P.  P.  Jennings,  which  was  first  built  in  the  Devereux 
House  but  now  stands  in  her  present  home. 

Mr.  Ramsey  moved  to  Richfield  in  1872.  In  1880  he  went  to  St. 
Johns,  Arizona,  and  to  Old  Mexico  in  1885,  returning  to  Arizona  he 
died  in  Snowflake  1905.  In  the  long  years  of  his  life  he  pursued  his 
craft,  leaving  many  beautiful  examples  of  his  hand  carving  wherever 
he  made  his  home. 


34 


Devotees  and  their  Shrines. 


RALPH  RAMSEY.     MANiiiL  i  <JR  THE  DEVEREUX  HOUSE. 


WILLIAM  PAUL  AND  PRISCILLA  P.  JENNINGS. 

William  Paul,  English  architect  and  builder  by  profession,  with 
his  daughter,  Mrs.  Priscilla  Paul  Jennings,  designed  the  old  time 
palacious  Jennings  residence,  the  Devereux  house.  Paul  also  designed 
the  "Eagle  Emporium"  on  the  southwest  corner  of  First  South  and 
Main. 

Mrs.  P.  P.  Jennings  inherited  a  love  for  architecture  and  has  made 
it  a  study  just  as  other  women  study  music  and  literature.  She  has 
had  a  great  deal  to  do  with  the  designing  and  building  of  four  beau- 
tiful homes — a  work  most  suitable  to  women. 

The  Devereux  house  still  stands.  Its  gardens  were  wonderfully 
kept  and  the  lawn  was  a  renowned  piece  of  turf.  Both  hard  and  soft 
woods  were  used  in  the  interior  finishing,  the  designing  and  carving  of 
.which  was  done  by  Ralph  Ramsey.  The  hall  banister  and  the  newel- 
post,  the  latter  a  masterpiece  of  many  and  perfect  joints,  are  of  b^ack 
walnut  made  from  wagon  beds  in  which  goods  were  freighted  from 


A  Handbook  of  Utah  Art. 


35 


PAUL.    DEVEREUX  HOUSE. 


the  Missouri  River.     The  dancing  room  floor  is  set  in  a  fine  pattern 
of  native  scrub  oak  and  mountain  maple. 

Mrs.  Jennings  says:  *'If  women  understood  their  opportunities 
they  would  interest  themselves  more  in  house  building  and  home  mak- 
ing. You  hear  women  professing  love  for  home  but  doing  nothing  to 
make  home  sweeter.  If  I  had  only  three  rooms  to  build,  I  would  make 
a  more  careful  study  than  if  I  were  designing  a  palace.  For  in  the 
little  home  I  would  have  to  get  every  convenience  within  the  smallest 
possible  space  without  wasting  one  inch  of  room.  And  a  small  mis- 
take in  a  small  house  would  be  more  disastrous  than  a  big  mistake  in 
a  mansion.  The  ''Devereux,"  as  seen  above,  was  remodeled  from  the 
home  of  William  C.  Staines,  an  English  gentleman  gifted  for  landscape 
gardening.  He  had  filled  the  grounds  with  the  first  rare  bulbs,  shrubs, 
and  hedges  imported  here.  The  Staines'  and  Jennings'  have  always 
been  past  masters  of  hospitality.  This  house  is  historic  for  having 
been  the  scene  of  state  and  municipal  functions  in  early  days.  Mr.  and 
Mrs.  Staines  took  into  this  home  the  second  territorial  governor. 
Gumming,  the  U.  S.  Commissioners  acting  for  Johnston's  army,  and 
Colonel  Thomas  L.  Kane.  The  Jennings  entertained  President  and 
Mrs.  Grant.  Mrs.  Frank  Leslie.  Jay  Gould,  General  Sherman,  Lord  and 
Lady  Franklin,  the  Colfax  Darty,  Secretary  of  State  Seward,  the  Jap- 
anese embassy,  Tom  Thumb,  Lily  Langtry,  and  Sidney  Dillon. 


36  Dei  otccs  and  tJicir  Shrines. 

ALFRED  LAMBOURNE. 


..^ji^    '.'.  -;^-i*>««it*Lii??* ; 


He  who  is  gifted  will  find  some  means  of  self  expression.  En- 
vironment has  so  much  to  do  with  the  choice  of  vocation  that  often 
the  artist  does  not  choose  the  vehicle  that  is  best  suited  to  convey  what 
is  in  his  heart.  None  among  our  artists  is  gifted  with  a  richer  artistic 
temperament  than  is  found  in  Alfred  Lambourne.  He  first  turned 
to  paint  and  brush  and  became  one  of  our  most  prominent  painters. 
It  took  him  many  years,  (although  he  now  and  then  burst  momentarily 
into  the  light),  to  discover  that  the  adequate  means  to  his  soul  ex- 
pression was  the  pen.  So  we  find  him  throwing  aside  the  brush  and 
entering  the  field  of  letters  with  **The  Old  Journey,"  "Pines  and  Sea- 
weed," followed  by  "Plet,"  "Holly  and  Easter  Lilies,"  "Pioneer 
Trail,"   "Metta,"  and  "The  Rose." 

This  artist  poet,  maker  of  beautiful  books,  appears  elsewhere  in 
these  pages  as  subjett  of  sculptures  by  M.  M.  Young.  Lambourne  is 
a  pioneer.  He  has  sketched  in  all  the  mountain  states  and  has  made 
intimate  acquaintance  with  the  life  and  formation  of  their  mountains. 
He  lived  a  recluse  on  Gunnison  island  and  recorded  his  experiences 
and  thoughts  in  "Pictures  of  an  Inland  Sea."  His  pictures,  poems, 
sketches  and  stories  are  illustrative  of  the  Western  life.  His  art  life 
is  not  a  thing  apart  from  his  literary  work  but  naturally  led  him  into 
the  literary  field.  The  subjects  that  appealed  to  him  were  too  colossal 
for  paint  and  brush  but  admirably  fitted  for  poesy. 


A. 

• 

^ 

^ 

I^^P^T 

1^ 

v/V 

^    '^"     4 

LAMECURXr.     ClIPISTMAS  EVE   IN  THE  WASATCH. 


JOHN    HAFEX.     DRAWN    BY    WILL    VAWll-R. 


AT  MY  EASEL. 


Hush'd  be  commercial  noise, 

One  moment's  peace,  O  Muse, 

That  I  in  ecstasy  of  thought 

May  turn  me  from  swift  currents  frau^^hl 

With  greed  for  gain 

E'en  to  the  depths  of  mine  own  soul ; 


A  Handbook  of  Utah  Art.  39 

For  there  emotions  stir  and  all  aglow 
New  life  leaps  through  my  sluggish  veins 
(Once  poisoned  and  slow.) 
Vanished  the  thickening  film  of  doubt, 
A  new  strange  light  veils  all  without. 
My  brushes  call. 
Beauty  invokes  the  mystical: 
I  seize  the  canvas,  paint 
Poor  things  inanimate 
To  make  them  live. 

Feelings  my  senses  on  my  soul  hath  wrought 
Must  never  wholly  be  forgot. 
Why?  not  that  my  good  neighbors  round — 
Self-styled  "Connoisseurs  of  Art," 
May  twit  me  on  what  they  call  faults : 
"Strange  that  she  will  not  be  advised 
To  paint  her  picture  in  another  w^ay. 
That  we  might  pleased  be  and  understand ;" 
But  so  in  richer  years  to  come 
When  my  poor  lips  have  long  been  dumb. 
My  canvas  then  shall  speak. 
And  I  may  vault  among  the  understood — 
The  not  despised. 
Sweet  Angel  that  aye  guards  me, 
Help  me  to  look  for  God 
In  the  dull  sod 
Which  I,  with  loving  hand, 
Transform  to  flowering  green. 
Not  in  the  sky 
To  no  avail  look  I — 

My  witness  be  the  Earth !  z 

Thy  handiwork! 
To  see,  to  know  each  flower. 
Each  blade  of  grass, 
xA.nd  its  aflinity  to  me 
And  in  its  fitness  Thy  Divinity! 
To  tell  it  as  I  see  it, 
Not  as  does  my  neighbor , 
Spare  me  but  that,  O  God ! 
Not  mine  to  follow  paths. 
To  ape  the  common  lot. 
To  lend  for  gain,  to  hoard  and  spend, 
To  eat  and  drink  and  merry  be, 


40  Devotees  and  their  Shrines. 

To  dress  me  as  Dame  Fashion  shall  decree; 
Never  to  see  the  stars, 
Save  when  Night's  cloak  dark  falls! 
Never  to  dream  the  stars ! 
'    (More  caged  far,  than  they, 
Shut  in  by  steeled  bars) — 
Never  to  feel  the  pulses  swell, 
Vibrant  with  the  lark's  glad  call ; 
The  desert  ne'er  to  know  or  understand ; 
But  from  a  sense  of  patient  duty 
There  to  exist  in  deep  humility, 
And  only  ugliness  behold 
Where  is  entrancing  beauty ! 
Quicken  my  touch. 
Attune  mine  ears, 
Unveil  mine  eyes 
To  this  my  Universe. 
For  it  is  mine, 
Thou  didst  give  it  unto  me ! 
Yea !  'tis  mine  own  heaven ! 
Not  Thine  intent 
That  it  to  me  should  be  a  curse. 
O,  Earth  I  love  thee!     Mine. 
The  mesquite  of  the  mesas  gray 
Not  subtler  than  the  town's  gray-day.; 
The  willow  bursting  Winter's  bands 
Not  dearer  than  thy  burning  sands. 
Where  endless  deserts  push  the  mountains  back 
And  all  the  restful  purple  shadows  lack ; 
(Changeless  they  glaring  stare 
From  morn  till  noon, 
From  noon  until  the  night 
Brings  Peace  from  out  the  West, 
With  all  her  pageantry  of  color 
Conquering  the  Earth.) 
Yea,  each  lone  way  I  turn — 
(And  many  ways  are  lone,) 
A  sweeter  meaning  in  the  scene  I  learn : 
Some  hidden  truth  I  feel  with  fervor  burn 
Into  my  heart,  my  soul !   Intelligence ! 
Intelligence,  God's  glory! 
Glory  be  to  Thee 
For  Thine  the  gifted  he! 


A  Handbook  of  Utah  Art. 


41 


HAFEN.      HOME   IN   SPRINGVILLE. 


JOHN  HAFEN. 

Where  the  Artist  is,  there  Art  appears,  and  remains  with  him — 
loving  and  fruitful — turning  never  aside  in  moments  of  hope  deferred 
— of  insult — and  of  ribald  misunderstanding;  and  when  he  dies  she 
sadly  takes  her  flight ;  though  loitering  yet  in  the  land,  from  fond  asso- 
ciation, but  refusing  to  be  consoled.  With  the  man,  then,  and  not  with 
the  multitude,  are  her  intimacies;  and  in  the  book  of  her  life  the  names 
inscribed  are  few — scant,  indeed,  the  list  of  those  who  have  helped  to 
write  her  story  of  love  and  beauty. — Whistler's  ''Teti  O'Clock." 

In  the  quaint  town  of  Scherzingen,  on  the  slope  of  the  beautiful 
Lake  Constance,  in  daily  view  of  the  wonderful  Alps,  John  Hafen,  the 
landscapist  of  Utah,  was  born.  At  the  age  of  four  years  he  had  begun 
sketching.  A  friend  of  the  Hafen  family — Mr.  John  Huber  of  Mid- 
way, Wasatch  County — states  that  before  the  boy  John  had  reached 
his  fifth  year  he  made  a  drawing  of  a  neighbor  driving  his  horses  and 
wagon.  This  picture  was  so  good  that  one  could  easily  recognize  for 
whom  it  was  meant. 

The  bov  artist  utilized  the  first  art  material   that  came  in  his 


42  Devotees  and  their  Shrines. 

homely  life.  With  the  bits  of  charcoal  that  fell  upon  the  hearth  he 
drew  pictures  on  the  margins  of  old  newspapers.  His  first  real  sor- 
rows were  because  he  lacked  material  for  self  expression.  He  never 
ceased  expressing  himself  with  pencil  or  clay  all  during  childhood  and 
youth,  and  at  the  age  of  eight  years  he  had  fully  determined  upon  his 
life's  career — he  was  going  to  be  an  artist. 

John  Hafen  says,  "I  discovered  my  gift  by  persistent  response  to 
a  strong  tendency  to  make  pictures."  Mr.  Hafen's  success  results 
from  two  qualities :  talent  and  bulldog  tenacity.  He  is  kind  and  gentle 
as  a  child  and  filled  with  humility  but  when  he  sets  his  face  to  the 
accomplishment  of  a  purpose  he  cannot  be  shaken  off. 

At  the  age  of  nine,  the  lad  heard  the  sermon  of  President  Brigham 
Young  on  the  "Word  of  Wisdom."  Like  most  Europeans,  he  was  a 
drinker  of  coffee,  but  the  sermon  made  a  deep  impression  on  him,  and 
he  has  abided  by  that  law.  He  therefore  lives  a  simple  life,  eats  no 
meat,  drinks  no  coffee,  tea,  liquors,  nor  other  stimulating  drinks,  and 
has  never  used  tobacco  in  any  form. 

He  is  known  as  a  man  of  integrity  and  high  mindedness.  But 
only  a  marvelous  degree  of  devotion  to  the  talents  with  which  God 
hath  endowed  him  and  his  self  sacrifice  have  made  possible  his  present 
attainments  in  art. 

Mr.  Hafen  holds  a  unique  place  among  the  artists  of  Utah.  None 
can  be  compared  to  him  in  his  undivided  purpose  of  life.  His  deter- 
mination to  express  himself  with  paint  and  brush  are  unchanged  and 
persistent.  An  earthquake  would  not  stop  him;  hunger  might  gnaw 
at  his  ribs,  he  would  remain  oblivious  except  to  the  scene  before  him. 

John  Hafen  has  laid  all  upon  the  altar  of  sacrifice  for  art's  sake. 
His  wife  has  shared  the  same  spirit  of  devotion.  In  the  face  of  pov- 
erty and  misfortune  nothing  seemed  so  dark  as  the  thought  that  her 
husband  might  be  forced  to  throw  aside  his  talents  and  take  up  another 
course  in  life.  This  attitude  of  his  wife  and  family  strengthened,  com- 
forted and  helped  to  sustain  him.  What  he  has  accomplished  shows 
the  worthiness  of  fidelity.  His  joys  are  those  of  the  gifted  who  at  last 
makes  himself  understood.  Such  is  adequate  recompense  for  the  life 
of  sacrifice  that  attends  all  real  greatness. 

Though  Hafen's  beginnings  were  humble,  though  others  have 
commenced  the  ascent  of  the  roadway  of  fame  with  seemingly  larger 
assets,  though  he  has  groped  on  a  lonely  way,  though  obstacles  were 
continuously  thrust  upon  him,  though  poverty  has  struggled  to  defeat 
him,  yet  he  has  believed  in  his  gift.  He  has  never  loosed  the  grip  of 
his  stubborn  hold,  for  at  each  crisis  the  consciousness  of  his  soul's 
inspiration  has  overpowered  outward  destructive  agents;  therefore  he 


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44  Devotees  and  their  Shrines. 

has  won  the  battles,  and  therefore  as  a  landscapist  he  has,  as  the  French 
would  say,  arrived. 

Hafen's  landscapes  have  been  hung  in  exhibitions  of  the  Society 
of  American  Artists  of  Paris,  in  Boston;  in  the  Art  Institute  of  Chi- 
cago ;  at  the  annual  exhibition  of  Contemporary  American  Artists  and 
at  the  annual  exhibition  of  Artists  of  Chicago  and  vicinity;  in  annual 
exhibition  of  the  Fine  Arts,  Philadelphia,  the  St.  Louis  Art  Museum 
Midwinter  Exhibition,  and  exhibitions  of  Indiana  Artists,  and,  by 
special  jnvitation,  in  the  John  Herron  Art  Institute. 

Mr,  M.  M.  Young  has  painted  a  portrait  of  John  Hafen  which 
is  in  the  Springfield  (111.)  Art  Gallery.  A  portrait  of  him  by  Charles 
L.  A.  Smith  of  Chicago  hangs  in  the  building  of  Marshall  Field  and 
Company,  Chicago.  Mr.  Will  Vawter,  a  prized  friend  of  Hafen, 
illustrator  for  James  Whitcomb  Riley,  made  a  pencil  sketch  for  this 
article. 

Hafen  received  the  Medal  of  Honor  of  the  Utah  Art  Institute, 
the  Three  Hundred  Dollar  prize  and  first  prize  for  best  landscape  in 
1908  Illinois  state  fair.     This  contest  was  open  to  the  entire  country. 

John  Hafen,  more  than  any  of  our  other  artists,  has  been  his  own 
teacher.  However,  he  has  spent  several  years  of  time  in  Paris  and  art 
centers  of  America,  but  he  has  grown  from  within  out.  What  he 
pictures  on  his  canvas  is  soul  expression  and  with  very  little  outside 
help  he  has  worked  out  his  apprenticeship  to  art.  Yet  none  is  more 
appreciative  of  the  work  of  his  brother  artists.  His  face  lights  up 
with  inspiration  before  a  good  picture  and  before  anything  of  beauty. 
This  inspiration  has  been  a  constant  source  of  light.  Hafen  would 
never  let  any  obstacle  entirely  darken  the  way.  With  what  light  he 
had  he  looked  and  painted  and  looked  again,  grasping  a  little  more 
truth  each  time;  thus,  gaining  new  strength  by  repeated  effort,  he 
developed  power  to  clear  his  path  and  to  give  himself  a  freer  light. 
The  years,  slipping  by,  found  his  good  light  burning  brighter,  his 
vision  becoming  clearer,  and  he  was  learning  to  use  his  tools  with  the 
touch  of  love.  So  John  Hafen  has  never  stopped  painting  until  he  has 
painted  himself  out  of  all  his  troubles. 

Even  if  he  has  been  forced  to  lift  himself  by  his  shoe  strings, 
he  has  pulled  himself  up  to  the  front  rank.  We  know  he  has  gone  too 
far  on  the  toilsome  road  to  turn  back;  he  can  only  pursue  his  high 
course.  And  as  the  years  go  by  he  will  reach  the  higher  mile  stones, 
one  by  one.  He  must  not  slacken  his  pace.  Each  new  achievement 
will  cost  the  same  effort,  the  same  devotion  and  the  same  spirit  of 
self  sacrifice  and  humility  as  his  past  honors  have  brought  him.  And 
he  may,  at  last,  reach  the  high  star  which  is  his  beacon  light.     We  are 


A  Handbook  of  Utah  Art. 


45 


assured  that  he  will  never  stop  pushing  onward  and  upward  until  the 
Master  stays  his  hand  to  set  him  to  work  in  a  Loftier  Sphere  of  Art. 
Just  as  the  literary  story  has  no  charm  for  this  artist,  so  also 
subject  is  unimportant.  But  soul,  feeling,  sweetness  of  spirit,  tender- 
ness, and  simplicity  are  there.  Some  would-be-artists,paint  the  fields 
in  just  the  same  manner  as  indoor  subjects.  Not  so  Hafen.  He  has 
a  sense  for  light  and  air,  the  feeling  of  "out  of  doors."  Have  you 
seen  the  woodeny  trees  of  the  novice?  Then  look  at  Hafen's  tree 
quality.  His  trees,  as  Corot's,  seem  to  be  growing.  They  lead  you 
to  think  that  the  birds  could  fly  in  and  out  among  the  branches. 


On  tdCh  canvas  Hafen  reveals  some  delicate  beauty,  some  charm 
that  was  hidden  until  his  loving  brush  brought  it  out.  That  is  why 
you  ought  to  have  at  least  one  Hafen  picture  in  your  home. 

To  this  artist  nature  opens  her  heart  and  tells  her  feelings,  which 
he  pictures  for  our  joy.  What  he  tells,  words  are  inadequate  to  ex- 
press.    Where  he  begins,  Literature  is  dumb.* 

*This  article  appeared  in  January,  1910,  of  the  "Young  Woman's  Journal." 
John  Hafen  died  in  Brown  Co.,  Indiana,  a  few  months  later.  Death  overcame 
him  almost  without  warning,  robbing  us  of  Utah's  greatest  Artist.  Hafen  was 
a  charming  conversationalist  and  when  you  read  his  wonderful  letter,  which 
follows,  and  which  I  received  a  short  time  before  his  death,  let  his  beautiful 
personality  light  up  each  treasured  word. 


46  Devotees  and  their  Shrines. 

JOHN  HAFEN's  letter. 

"An  answer  to  your  favor  of  August  23  has  been  put  off  longer 
than  I  wished,  but  as  all  my  time  is  occupied  with  my  professional 
labors  during  this  out-of-door  season's  work,  I  could  not  well  avoid 
the  delay. 

"Our  ancestors  are  not  traceable  further  back  than  great-grand- 
father, on  account  of  the  Reformation.  As  far  back  as  that  no  one 
gifted  especially  as  artist  or  poet  was  connected  with  them.  But  my 
mother  had  an  unusual  fondness  for  pictures  and  displayed  more  than 
ordinary  taste  in  the  arrangement  and  decoration  of  home.  No  matter 
whether  we  lived  in  a  'dugout'  or  a  dirt-roofed  log  cabin,  she  always 
had  some  wood  cuts  or  engravings  upon  the  unplastered  walls.  From 
her  I  received  encouragement  in  my  childish  efforts  at  picture  making. 
When  I  was  eleven  years  old  mother  showed  a  bundle  of  my  drawings 
to  a  friend  from  the  country  and  he  gave  me  one  dollar  and  a  half,  to 
pay  for  colors  and  drawing  paper,  the  first  real  drawing  paper  and 
water  colors  I  ever  owned. 

"I  was  employed  mostly  at  gardening.  I  also  learned  the  trunk 
business  at  Z.  C.  M.  I.  In  spare  time  I  would  always  draw  pictures. 
I  had  my  mind  made  up  to  become  a  painter  from  my  early  childhood. 
I  left  Switzerland,  my  native  country,  in  February,  1862,  at  the  age 
of  five  years.  My  childhood  was  spent  amid  the  scenes  and  hardships 
of  pioneer  life  in  Utah.  Two  years  were  spent  at  Payson  and  as  long 
a  time  at  Richfield.  From  the  latter  place  we  were  driven  by  the 
Indians  and  settled  in  Tooele  until  1868,  when  we  moved  to  Salt  Lake 
City.  I  had  no  teachers  until  I  went  to  France  to  study  in  1890.  Mr. 
Arthur  F.  Mitchell  introduced  me  to  the  use  of  oil  colors.  He  was 
well  known  to  all  the  old  painters.  To  him  I  am  indebted  for  my  first 
introduction  to  art  life. 

"I  decided  to  go  to  Paris  because  that  school  had  the  greatest 
reputation  of  any  in  the  world  at  that  time.  Mr.  Daniel  Weggeland 
was  chiefly  responsible  for  my  going  abroad  to  study.  James  T.  Har- 
wood  and  Will  Clawson  also  encouraged  the  idea,  as  they  both  had 
been  there  to  study.  I  have  no  particular  choice  of  subject.  I  just 
drifted  into  the  landscape  for  want  of  models  and  means  to  pay  for 
them.  I  believe  that  my  main  sympathy  is  with  landscape.  I  believe, 
however,  that  an  artist  should  be  as  broad  as  possible  in  the  choice  of 
subjects,  to  avoid  narrowness,  which  concentration  has  a  general  ten- 
dency to  brine  about.  I  am  happv  in  being  able  to  say  that  I  can  sin- 
cerely appreciate  a  wide  range  of  artistic  accomplishments  in  varied 
p^ethods  and  theories.  When  I  hear  men  sav.  T  have  no  use  for  such 
and  sucli  style  of  art.'  I  pity  them  for  being  deprived  of  so  much  en- 


A  Handbook  of  Utah  Art,  47 

joyment  in  life.  Taking  it  for  granted  that  there  is  talent  and  train- 
ing, /  can  enjoy  any  effort  so  long  as  it  is  backed  by  sincerity  and  con- 
viction; especially  if  that  effort  is  fraught  idth  independence.  How- 
ever, my  synipathies,  because  perhaps  of  my  temperament,  are  with 
such  artists  as  George  Innes,  Corot,  Millet,  Rembrandt.  As  to  nation- 
alities I  have  positively  no  distinction  or  choice. 

"You  ask  me  how  I  feel  when  my  brother  artists  are  successful. 
I  rejoice,  of  course.  How  could  I  do  otherwise?  I  not  only  rejoice 
with  them  but  I  feel  encouraged  because  some  one  worthy  has  won  his 
just  reward.  It  indicates  to  me  that  the  Zi'orld  is  not  blind  to  true 
worth,  though  sometimes  it  is  slow  to  find  it. 

"I  paint  in  the  east  for  two  reasons ;  first,  I  am  not  supported  in 
my  home  state,  and,  second,  I  don't  believe  in  hiding  one's  talent  under 
a  bushel.  I  am  fondest  of  painting  whatever  appeals  to  me  from  an 
artistic  standpoint. 

''As  I  grow  older  in  experience  and  as  I  come  in  contact  with  the 
artists  of  the  world  and  their  works,  I  begin  to  realize  what  reliance 
and  faith  in  God  have  done  for  me.  I  observe  that  artists  are  as  diver- 
sified in  their  opinions  and  as  much  at  sea  as  to  what  constitutes  good 
art  as  the  world  is  divided  on  the  subject  of  religion. 

"There  is  error  amongst  artists  great  and  small,  but  much  less 
in  great  men.  So  far  as  I  have  become  acquainted  with  men  through 
their  writings,  I  believe  Augustus  St.  Gaudens,  the  American  sculptor, 
to  be  the  cleanest  and  purest  in  art  sense  and  temperament  of  all  mod- 
ern American  artists.  I  have  detected  no  error  in  his  ideas.  He 
seemed  to  me  as  a  man  inspired  zvhile  he  lived.  Such  a  sweeping  ex- 
pression or  verdict  on  the  artists  of  the  day  may  seem  presumptuous. 
But  I  do  not  assume  to  know  this  by  my  own  wisdom  or  power.  T 
ascribe  it  to  the  same  source  that  w^e  ascribe  a  knowledge  of  Gospel 
truth ;  for  the  Spirit  of  the  Lord  will  lead  us  into  all  truth.  In  faith- 
fully and  diligently  discharging  my  duties  and  strictly  observing  the 
Word  of  Wisdom,  I  have  a  right  to  guidance  and  ability  to  recognize 
Truth  from  Error. 

"I  would  say  to  my  friends  that  by  this  stand  you  may  wait  and 
watch  a  long  time  in  the  world  of  art.  Being  at  variance  zvith  the 
conventional  ideas  of  the  day  on  art,  and  ignoring  the  various  fads  that 
pass  over  the  horizon  of  time,  I  cannot  expect  to  be  'in  the  szvim,'  as 
the  saying  is.  For  to  listen  to  and  follozv  the  ideas  of  the  day  zvould 
be  to  ignore  inspiration,  and  I  cannot  afford  to  do  that.  I  would  rather 
trust  to  steadv  development  on  the  lines  of  my  conviction  and  patiently 
aw^ait  recognition  by  some  hieh  and  influential  intelligence,  for  I  have 
bv  no  means  lost  confidence  in  the  existence  of  high,  dignified  and 
trulv  artistic  intelhVence  in  the  present  day. 


HAFEN.    QUAKING  ASPENS. 


A  Handbook  of  Utah  Art.  49 

'*I  enjoy  the  respect  and  friendship  of  all  my  professional  brethren 
so  far  as  I  have  met  them.  I  have  not  yet  reached  my  goal.  I  mean 
eventually  to  get  to  New  York  and  Boston  and  lose  myself  for  a  time 
in  the  twenty-five  thousand  artists  congregated  there. 

"In  conclusion  I  will  explain  briefly  my  views  and  feelings.  I 
divide  the  art  profession  into  two  classes  at  all  times  in  history.  In 
one  class  are  the  painters,  in  the  other  division  are  artists.  There  are 
very  great  men  on  either  side.  On  the  side  of  painters  I  might  class 
John  Sargent,  Zorn  and  most  modern  impressionists.  On  the  side  of 
artists  Rembrandt,  Whistler,  and  John  W.  Alexander.  I  might  class 
Velasquez  at  the  head  of  the  former  class.  He  is  very  deserving  of 
that  position  but  he  is  so  great  in  an  artistic  sense  that  it  is  somewhat 
difficult  to  decide  on  which  side  to  place  him,  although  one  invariably 
has  to  admire  and  rave  over  the  excellence  of  his  rendering  or  exe- 
cution. 

''I  believe  the  tendency  of  the  present  age  is  strongly  inclined  to 
the  painting  side  of  art,  and  troubled  seriously  zvith  comrnercialism. 
In  fact  commercialism  is  the  cause  of  the  present  day  art  lean- 
ing to  the  painting  side.  Art  is  a  tender,  sensitive  plant,  re- 
quiring to  be  carefully  nursed  and  kept  clean  of  obnoxious 
weeds.  It  passes  the  eye  to  the  heart  and  stirs  the  emotions, 
while  painting  only  delights  the  eye.  The  two  cannot  be  com- 
bined in  a  painting  and  be  pure  art — I  don't  say  good  art.  I 
wish  to  emphasize  the  word  'pure'  in  this  relation.  The  art  of  paint- 
ing and  sculpture  reaches  human  understanding  through  the  eyes; 
music  through  the  ears ;  literature  through  language  to  the  mind.  The 
eye  cannot  entertain  itself  zvith  tzvo  things  at  once;  much  less  can  it 
stir  the  heart  zvhen  the  'hozv  it  is  done'  is  loudly  present.  This  phase 
of  the  subject  needs  much  elaboration  but  time  in  this  writing  compels 
me  to  confine  myself  to  statement  only.  On  this  point  I  am  fighting 
almost  alone  in  the  world.  My  work  is  continually  being  respectfully 
and  very  considerately  criticised  as  just  failing  or  lacking  in  this,  that 
and  the  other  things  that  go  to  making  up  a  painting  according  to 
orthodox  ideas  prevailing  in  the  art  world.  And  those  things  are  the 
very  ones  I  continually  and  purposely  destroy.  I  cannot  comply  with 
the  critics  because  my  convictions  are  opposed  to  them  upon  this  point 
in  question. 

"What  makes  this  subject  more  perplexing  is  that  the  lack  of 
knowledge  is  not  responsible  for  erroneous  ideas  in  the  world,  but  the 
inability  to  comprehend.  Men  and  women  who  are  full  of  knowledge 
on  matters  pertaining  to  art  cannot  comprehend  the  most  vital  meaning 
in  a  great  work  of  art.  In  other  words,  they  are  ever  learning  and 
never  coming  to  a  knowledge  of  the  truth.  "John  Hafen.'' 


Winners 
of 

Honors 
Abroad. 


OLD  :jtll.     liberty  park. 

Paris  Salon. 

JAMES  T.  HARWOOD. 

Fate  was  kind  to  Utah's  strenuous  painter,  James  T.  Harwood. 
He  early  entered  the  art  life  for  his  contact  with  society  in  the  grade 
A,  B,  C,  furnished  him  with  the  right  medium  for*  self  expression  in 
the  form  of  an  old-fashioned  slate  and  pencil.  Harwood's  powers  of 
picture-making  on  that  ancient  slate  are  recalled  by  his  old  school- 
mates. 

Harwood's  parents  took  leading  parts  in  the  dramatic  efforts  of 
the  neighborhood  and  his  grandfather  was  the  town  wit  and  poet.  Of 
the  Harwood  boys  James  turned  to  paint  and  brush,  Don  Valentine  to 
literature,  and  Fred  to  music;  all  three  brothers  possessed  creative 
power. 

Lehi  is  well  suited  to  the  life  of  an  observing  child.  The  lake, 
the  mountain,  and  the  field  are  stored  with  riches.  To  young  James 
the  habits  of  living  things — bird,  insect,  water  fowl,  and  fish  were 
known.  The  willows  that  feathered  the  creek,  the  flowers  and  weeds, 
opened  their  secrets  to  him.  The  distant  mountains  and  the  low  hills, 
the  lake,  the  mountain  streams,  the  orchard,  and  the  grain  patches,  the 
truck  garden,  and  the  meadows — all  were  sources  of  inspiration.  So 
among  Lehi  haunts  James  T.  Harwood  found  inspiration  for  a  multi- 
tude of  pictures. 


52 


Devotees  and  their  Shrines. 


HARWOOD. 


A  MIDNIGHT -ADVENTURE. 
Paris  Salon. 


Brought  Up  to  a  life  of  usefulness,  trained  in  early  youth  to  a 
trade,  and  living  in  an  atmosphere  of  thrift  and  sobriety,  our  young 
artist  grew  thoughtful  and  industrious.  His  first  art  work  was  under 
Weggeland  and  Lambourne.  Then  he  struck  out  for  California.  At 
that  time  the  Academy  of  Design  at  San  Francisco  was  one  of  the 
finest  art  schools  in  America.  Virgil  Williams  had  studied  eight  years 
in  Rome.  He  had  a  great  influence  on  his  pupils,  firing  them  with  a 
determination  to  win  honors.     Throwing  his  whole  soul  into  the  work 


A  Handbook  of  Utah  Art. 


53 


HARWOOD.      BOY  CARPENTERS. 
Paris  Salon, 

at  school,  Harwood  won  all  the  honors  to  be  gained  there  before  he 
set  his  face  homeward. 

A  studio  which  he  opened  in  Salt  Lake  City  brought  him  pupils 
and  money.  Hitching  his  wagon  to  a  star  he  decided  upon  an  art 
career,  which  he  has  since  religiously  followed.  He  was  the  first  of 
the  native  sons  of  Utah  to  seek  inspiration  at  the  fountain-head  and 
plant  his  foot  in  the  environment  of  art — the  city  of  Paris.  The  year 
1889  found  him  at  the  "Julian."  Dallin  followed  two  weeks  later  and 
Evans,  Hafen,  Fairbanks,  Pratt,  and  Clawson  joined  them  two  years 
later,  making  a  most  interesting  group  of  Utah  art  students. 

This  Utah  pioneer  to  Paris  soon  was  admitted  to  the  Beaux  Arts, 
the  art  school  of  the  French  government.  He  was  the  first  Utahn  to 
be  accepted  with  a  picture  at  the  Salon.  It  was  the  "Preparation  for 
Dinner."  He  had  married  in  Paris  and  returning  home,  opened  a 
studio,  teaching  art  as  in  the  French  schools.  And  in  Harwood's 
studio,  then,  began  the  careers  of  several  groups  of  our  Utah  artists 
who  have  won  honors  in  their  chosen  calling. 

Herman  Haag  showed  such  surprising  feeling  for  composition 
that  Harwood  persuaded  the  youth's  brothers  to  give  him  a  chance. 


54  Devotees  and  their  Shrines. 

Haag's  "J^hn  the  Baptist  presents  Christ  to  the  Multitude"  hangs  in 
the  "Julian,"  Paris.     Haag  died  before  reaching  his  majority. 

Rose  Hartwell  and  Mary  Teasdel  were  the  first  Utah  women  to 
go  abroad  for  art  study,  and  they  are  today  among  our  best  artists. 

Lee  Greene  Richards,  M.  M.  Young,  and  A.  B.  Wright  were  born 
and  reared  upon  the  same  block,  attended  classes  under  Harwood,  were 
at  Paris  together  and  won  unusual  honors  abroad.  I  saw  their  work 
well  placed  in  the  French  Salon  and  in  the  St.  Louis  Exposition. 

Louise  Richards,  now  Mrs.  P.  T.  Farnsworth,  Jr.,  was  successful 
in  being  selected  for  the  Salon,  and  Myra  Sawyer,  Lu  Deen  Christensen 
and  Lara  Rawlins  followed  the  charmed  art  life  in  Paris.  Lu  Deen 
Christensen  is  supervisor  of  art  in  San  Diego,  California. 

While  Mr.  Harwood  will  be  remembered  as  a  painter  he  will  never 
be  forgotten  as  a  teacher.  He  is  art  instructor  in  the  Salt  Lake  High 
School.  The  art  course  there  is  optional,  so  that  none  enter  that 
branch  of  work  except  for  love  of  it. 

Nineteen  hundred  and  three  found  the  Harwoods  back  in  Paris. 
That  and  nearly  all  successive  years  have  found  him  exhibiting  with 
oil  or  water  colors  at  the  Salon.  He  is  not  tied  to  one  medium  but 
turns  readily  to  oil,  water  color,  pencil,  pen,  and  charcoal.  Thus 
is  he  able  to  refresh  himself  by  change  of  tool.  Figure,  landscape,  still 
life,  portrait,  all  have  charms  for  him. 

He  loves  many  moods  of  nature:  morning,  evening,  moonlight, 
wet  weather,  snow  scenes,  cloudy  days,  the  four  seasons,  he  often 
pictures. 

Lake  pictures  he  paints  in  various  effects  and  with  different 
mediums.  These  are  especially  charming.  The  truck  garden,  still 
life,  fruit,  and  flowers,  offer  opportunities  to  this  versatile  painter — no 
one  can  overtake  him  in  this  field — he  paints  them  in  perfection  to 
perfection. 

You  may  find  a  group  of  "old  masters"  in  his  studio,  which  he 
copied  in  Paris  and  which  are  valued  at  several  thousand  dollars. 
These  are  refreshing  to  those  who  have  seen  the  originals  in  the  Louvre 
and  Luxembourg  galleries. 

Perhaps  his  most  novel  collection  is  his  group  of  pictures  which 
portray  youthful  activities,  such  as  "The  Boy  Mechanic"  and  similar 
themes.  "The  Boy  Carpenters"  was  sent  to  the  exhibition  of  the 
Society  of  Western  Artists  and  brought  him  the  great  honor  of  being 
elected  an  associate  member  of  that  society.  Harwood  has  sold 
pictures  to  various  art  collectors  in  America,  among  them  being  Wan- 
amaker.  Mr.  Harwood's  most  noteworthy  work  is  a  collection  of 
twenty-five  water  colors,  painted  within  one  year's  time.  These  were 
all  in  and  about  Liberty  park  and  represent  the  advance  of  the  seasons. 


A  Handbook  of  Utah  Art. 


55 


"The  Old  Mill"  was  shown  in  the  Salon.  All  the  artists  agree 
that  in  this  collection  Harwood  has  best  realized  his  powers.  Lam- 
bourne  selected  a  verse,  or  composed  a  stanza,  to  suit  the  theme  of 
each  picture.  The  artist  refuses  to  sell  one  from  this  collection,  which 
he  recognizes  as  his  most  representative  work. 

Physically,  this  painter  is  a  magnificent  type  of  manhood,  strength 
and  endurance.  He  has  lived  a  life  of  temperance,  never  having  used 
alcoholic  drinks  nor  tobacco.  He  has  figured  out  how  to  utilize  every 
waking  moment  of  time  in  work,  and  study  and  play.  I  have  given 
some  idea  of  what  is  his  study  and  work;  his  play  consists  in  keeping 
a  small  farm,  a  truck  garden,  and  an  orchard,  and  much  reading  of 
fiction  (which  occupies  his  evening  hours). 

Mr.  Harwood  is  versatile,  conscientious  and  truthful,  full  of 
integrity,  and  noble  in  his  conduct  of  life.  Those  qualities  show  in  his 
work.  An  artist  cannot  get  away  from  what  he  is.  His  work  will 
tell  the  tale.  The  degree  of  sympathy,  and  tenderness  of  the  painter 
somehow  gets  into  the  paint. 

Mr.  Harwood  has  nothing  to  learn  from  others ;  he  has  spent  many 
years  in  mastering  his  tools  and  he  has  mastered  them.  He  is  entering 
the  best  era  of  his  art  career.  Nothing  need  come  between  him  and 
his  soul  expression.  In  the  ripeness  of  life  and  art  what  may  not 
James  T.  Harwood  undertake  to  its  marvelous  accomplishment? 


HARWOOD.    RUTH  HARWOOD. 
Autumn  Salon. 


56 


Devotees  and  their  Shrines.     ' 


MARY  TEASDEL. 


"Of  pictures,  I  should  like  to  own 
Titian's  and  Raphael's,  three  or  four, 

I  love  so  much  their  style  and  tone, — 
One  Turner  and  no  more, — 

(A  landscape, — foreground  golden  dirt, — 

The  sunshine  painted  with  a  squirt)." 

— Oliver  Wendell  Holmes. 


Mary  Teasdel  began  right  by  being  richly  endowed  with  talents 
for  art.  Fortunately,  too,  she  had  other  gifts  or  she  might  never  have 
made  a  place  for  herself  among  the  few  who  occupy  front  rank  in 
Utah  art. 

From  both  father  and  mother  she  inherited  aesthetic  tendencies 
and  uncommon  intellectual  power.  These  innate  possibilities  were 
strongly  reinforced  by  a  natural  aptitude  to  apply  knowledge  and  power 
to  practical  purposes,  creating  for  this  artist  a  fund  of  initiative  that 
some  men  might  envy. 

Not  only  is  she  resourceful  in  herself,  but  she  is  also  versatile  in 
art.  and  handles  oil,  water  color,  and  pastel  for  portrait,  figure,  flowers, 
and  landscape.  This  artist  has  a  distinct  leaning  toward  decorative 
art.  She  has  a  great  interest  in  architecture,  and  her  work  in  over- 
seeing the  planning,  building,  and  finishing  of  several  houses  shows- 
that  she  would  also  have  been  a  successful  architect. 


58  Devotees  and  their  Shrines. 

Miss  Teasdel's  greatest  quality  is  a  subtle  feeling  for  composition 
in  which  none  of  the  other  artists  overtakes  her.  She  has  a  refined 
sense  for  tone,  a  sensitive  individuality,  and  a  tender  spiritual  under- 
standing of  harmony.  These  gifts  are  a  predilection  of  other  art 
accomplishments,  but  it  is  the  constant  spring  of  perseverance  that 
vivifies  and  keeps  alive  this  woman's  giftSj  and  that  is  making  for  her 
all  things  possible. 

The  art  life  calls  for  certain  great  sacrifices.  The  wise  know  that 
great  sacrifice  sets  free  the  loftiest  thoughts  and  feelings,  that  are  shut 
up  in  man's  mortal  existence. 

In  the  pursuit  of  art  education  the  difficulties  are  doubled  for 
women,  but  even  other  sacrifices  were  required  from  the  hands  of 
Mary  Teasdel. 

Her  father  was  a  well-to-do  merchant,  who  supplied  his  family 
with  a  beautiful  home  and  gave  them  unusual  opportunities  for  culture 
in  education  and  travel.  Mary  was  precocious,  and  while  still  very 
young  had  graduated  at  the  state  university. 

She  was  also  trained  in  the  accomplishments,  in  music,  both  in- 
strumental and  vocal,  and  in  drawing  and  painting.  In  the  latter 
subjects  her  greatest  joy  was  found  and  very  soon  she  had  come  to  a 
decision  that  she  would  be  a  real  artist,  and  therefore  would  go  abroad 
■  and  study  art  from  the  foundation,  and  Mr.  Teasdel  reposed  full  confi- 
dence in  his  own  powers  to  provide  for  his  gifted  daughter. 

He  was  proud  of  her  talents,  but  he  did  not  believe  in  professions 
for  women.  In  his  opinion  girls  should  be  supported  by  their  fathers 
and  he  saw  no  reason  why  a  woman  should  desire  to  be  independent 
in  financial  matters,  when  she  had  a  parent  or  brothers  who  would 
gladly  furnish  her  means. 

It  was  a  thriftly  home  in  which  Mary  grew  up.  Her  mother 
taught  the  children  how  to  work.  Her  father  supplied  her  with  a 
liberal  allowance  for  pin  money,  and,  looking  forward  to  a  day  when 
she  might  undertake  her  life's  work,  she  began  religiously  to  save  what 
she  might  have  spent  for  pleasure. 

Mr.  Teasdel,  big  hearted  and  generous,  now  and  then  forgave 
large  debts  of  his  friends  who  were,  or  made  the  claim  of  being,  finan- 
cially close  pressed.  Possibly,  unscrupulous  men  took  advantage  of 
his  generosity.  The  fact  remains  that  thousands  of  dollars  were  in 
this  way  turned  from  his  store  till.  Perhaps  his  mercantile  business 
might  have  survived  these  sacrifices,  but  a  lare^e  railroad  contractor 
whom  he  was  carrying,  failed.  The  crash  could  not  now  be  averted 
and  Mr.  Teasdel  found  himself  financially  ruined.  He  gave  up  all  that 
he  possessed  to  his  creditors,  for  he  was  only  barely  able  to  meet  his 
obligations. 


A  Handbook  of  Utah  Art. 


59 


^ 


Misfortune  never  conies  single  handed.  Within  the  space  of  a 
few  months,  Mar}^  had  to  bear  the  loss  of  two  grown  brothers  and  an 
only  sister  who  had  been  her  boon  companion  and  was  now  snatched 
away  in  her  young  motherhood.  One  of  the  brothers,  Henry,  left  his 
savings  to  his  sister  Mary,  and  this  sum  added  to  her  own  savings, 
which  she  had  kept  in  the  Zion's  Benefit  Building  Society,  was  enough, 
with  very  careful  management,  to  keep  her  three  years  in  Paris. 

It  was  a  hard  time  to  set  out  to  face  the  world  alone,  for  she  must 


60  Devotees  and  their  Shrines. 

leave  her  parents  and  an  only  brother  at  a  time  when  they  most  needed 
her,  for  they  were  crushed  and  desolate. 

Mary  had  a  true  friend,  Cora  Hooper,  now  Mrs.  Ernest  Eldredge, 
with  whom  she  went  to  New  York  and  spent  a  winter  in  the  art  studios 
there.  Here  she  found  that  American  artists  were  quite  as  efficient  in 
their  instruction  in  art  as  her  foreign  teachers  were,  under  whom  she 
afterward  worked  in  Paris. 

The  French  studios  were  far  better  in  other  respects — the  students 
abroad  were  much  stronger,  and  the  galleries  there  far  surpassed  those 
of  America. 

With  another  good  friend,  May  Jennings  Farlow,  Mary  Teasdel 
went  abroad  and  remained  three  years. 

PARIS  STUDIOS. 

Have  you  a  rosy  picture  of  student  life  in  Paris  and  of  the  art 
studios  there?  The  studios  are  dirty,  and  barren.  No  furniture  em- 
bellishes them.  There  are  plain  bare  stools  from  six  inches  to  three 
feet  high  and  a  platform  for  the  model — that  is  all. 

The  studios  for  women  are  a  counterpart  of  those  for  men,  but 
for  women  the  tuition  is  double.  The  proprietors  claim  that  the  extra 
money  is  for  keeping  women's  studios  cleaner,  but  the  fact  remains  they 
are  just  as  dirty. 

There  are  three  periods  of  study :  morning,  afternoon,  and  evening. 
A  serious  student  could  not  get  along  with  only  one  period.  Miss 
Teasdel  took  four  hours  in  the  morning  and  three  hours — from  seven 
to  ten — in  the  evening.  Usually  there  are  two  criticisms  a  week  from 
the  teacher.  Pupils  select  positions  around  the  model  or  cast  and  try 
to  finish  that  drawing  or  painting  during  the  week,  for  next  week 
there  will  be  a  new  model  or  a  new  pose.  When  the  teacher  comes  to 
gives  his  verdict,  it  is  the  custom  for  all  to  rise  and  listen  with  bated 
breath  to  the  words  that  fall  from  this  wonderful  person.  It  is  purely 
a  one-sided  affair  for  the  student  has  nothing  to  say.  All  that  he  is 
or  knows  is  drawn  or  painted  on  his  canvas  or  paper.  To  be  so  pre- 
sumptuous as  to  say  ''The  model  moved"  or  "The  light  was  duller  yes- 
terday." would  bring  the  student  in  disgrace.  The  following  story 
illustrates  the  situation: 

Benjamin  Constant,  the  eminent  artist,  was  giving  a  criticism  to  a 
young  English  student  who  had  just  crossed  the  Channel.  He  told 
her  many  corrections  to  make  in  her  drawing.  She  replied,  "That  is 
ensv  to  say  but  hard  to  cfo."  The  astonished  Constant  left  the  room 
and  no  more  criticisms  were  given  that  day.     Word  was  left  that  until 


A  Handbook  of  Utah  Art.  61 

that  young  woman  left  the  class  no  further  criticism  would  be  given  by 
Benjamin  Constant.  The  matter  was  finally  patched  up  by  the  young 
lady  asking  pardon  and  promising  thereafter  to  be  good. 

Miss  Teasdel  at  one  time  studied  under  Jules  Simon,  who  is  one 
of  the  greatest  living  artists.  It  was  necessary  to  make  application 
three  months  in  advance  to  get  a  place  in  this  class,  which  had  limited 
numbers.  Here  were  always  strong  painters.  Among  them  were 
women  who  were  associate  members  of  the  "Champs  de  Mars,"  and 
in  this  class  the  girls  had  to  dig  to  make  a  fair  showing. 

When  Mr.  Whistler  came  from  England  to  Paris  (of  course  we 
are  always  proud  to  say  in  parenthesis  that  Whistler  was  an  American) 
he  introduced  an  innovation  in  studio  life.  A  quaint  old  house  was 
obtained;  the  walls  were  tinted,  and  harmonious  draperies  and  fur- 
nishings were  plac^'to  make  an  artistic  effect.  But  not  less  remark- 
able, the  place  wasSept  scrupulously  clean.  Miss  Teasdel  became  a 
pupil  there  and  enj^^d  it  all  fully. 

Whistler  hims^f  was  always  dressed  immaculately  and  always 
gave  his  criticisms  with  his  black  kid  gloves  on,  and  everyone  was  ex- 
tremely particular  that  no  spot  of  paint  should  mar  his  perfection. 
Unlike  other  teachers,  however,  he  would  often  paint  on  a  student's 
canvas  to  illustrate  his  point  of  criticism.  His  pupils  had  to  paint  with 
the  set  of  colors  that  he  used  when  painting.  He  had  an  original  idea 
— he  started  the  pupils  right  out  on  color,  claiming  that  it  is  as  easy  to 
draw  and  model  with  paint  and  brush  as  with  black  and  white.  He 
said  sculptors  were  better  brought  up  than  painters  because  they  were 
given  immediately  the  medium  they  expected  to  use.  His  criticisms 
were  telling.  Once  he  rubbed  his  finger  over  a  part  of  a  drawing,  and 
said,  "Why  do  you  put  that  all  in  when  you  can  come  closer  to  nature 
by  leaving  it  out?" 

A  STUDIO  OF  ALL  NATIONALITIES. 

In  these  classes  all  nationalities  meet.  There  are  always  Amer- 
icans and  Russians  in  large  numbers.  There  are  a  few  Swedish, 
English,  and  Germant  students  and  an  occasional  French  girl — most 
of  the'  latter  seek  the  private  studio  of  a  friend,  being  very  greatly 
restricted  socially. 

There  are  girls  and  women  from  all  avenues  of  life ;  from  the  lady 
who  comes  with  an  equipage  and  footman,  to  the  poor  girl  whose  hard 
savings  have  brought  her  to  the  studio  for  a  limited  time.  Yet  it  is 
the  most  democratic  place  in  the  whole  world.  The  nobility  are  those 
who  can  draw  and  paint.  Money,  caste,  education,  and  clothes,  count 
for  naught.     For  these  reasons  Mary  Teasdel,  who  was  gifted  and  as 


62 


Devotees  and  their  Shrines, 


energetic  as  the  best  of  them,  was  well  treated  by  teachers  and  pupils 
and  much  was  always  expected  of  her. 

Of  Miss  Teasdel's  summer  sketch  classes,  perhaps  the  one  in  Nor- 
mandy at  a  fortified  old  town  was  the  most  interesting  to  our  artist. 
The  girls  had  rooms  in  a  picturesque  old  farm  house  with  a  lovely 
garden.  From  this  charming  spot  they  had  to  walk  a  mile  and  a  half 
to  dinner,  after  which,  they  continued  as  far  again.  This  brought 
them  to  the  river,  which  was  visited  for  the  charming  evening  effect. 
During  the  three  mile  walk  back  to  the  farm  house  they  studied  twi- 
light effects,  which  were  exceptionally  fine  and  which  last  there  until 
nine  o'clock  in  the  evening.  The  work  for  the  day  would  be  ample, 
for  two  memory  sketches  must  be  made  of  the  previous  evening's  study. 
At  least  one  "Twilight"  and  one  "Evening"  must  be  sketched  in  color. 

Before  leaving  Paris,  Miss  Teasdel  made  good  by  being  accepted 
at  the  French  Salon  in  a  group  of  ivory  miniatures.  The  next  season 
she  had  a  portrait  in  oil  accepted  and  the  same  summer  two  others  of 


MARY  TEASDEL.      STREET  IN 
NORMANDY. 


A  Handbook  of  Utah  Art.  63 

her  ivory  miniatures  were  placed  in  the  International  French  Exposi- 
tion. She  was  the  second  Utahn  to  have  a  picture  hung  in  the  Salon 
and  our  only  painter  to  exhibit  at  the  International  French  Exposition. 
Dallin  was  there  with  sculpture  in  both  places. 

Immediately  upon  her  return  home,  Governor  Wells  appointed 
Miss  Teasdel  on  the  governing  board  of  the  Utah  Art  Institute.  She 
was  elected  president  of  that  body  and  labored  diligently,  perform- 
ing her  duties  with  dignity  and  credit.  The  year  1907  Miss  Teasdel 
spent  with  her  mother  in  Holland  and  France. 

In  1908  Miss  Teasdel  exhibited  in  the  state  fair,  wining  honors. 
She  took  the  main  prize  with  an  impressionistic  scene  of  City  Creek  can- 
yon in  autumn.  Of  this  picture  Edwin  Evans,  our  severest  art  critic, 
said,  "It  is  one  of  the  good  things  that  have  been  done  in  Utah."  Mr. 
Harwood  (over  whom  Miss  Teasdel  took  the  prize)  complimented 
her  on  this  same  work,  saying,  "The  awards  were  just,  and  I  think 
you  show  some  great  qualities  in  your  work  that  none  of  the  men  have 
as  yet  exhibited."  At  this  same  exhibition  she  took  prizes  for  the  best 
landscape  in  water  color  and  the  best  figure  in  the  same  medium. 
The  water  color  figure  was  especially  praised  by  Evans.  Among  the 
judges  at  this  exhibition  was  a  sculptor,  Mr.  Potter,  a  visiting  artist 
from  the  East.  He  also  liked  her  work  and  this  impersonal  judgment, 
coming  from  a  stranger  of  very  good  repute  as  an  artist  and  art  critic, 
was  very  complimentary  to  Miss  Teasdel.  At  one  time  or  another  she 
has  won  all  of  the  main  prizes  in  the  Utah  Art  Institute.  Often  even 
men  are  not  given  credit  for  excellence  in  the  field  of  art.  Women 
painters  are  apt  to  be  considered  as  only  "females."  It  has  been  a 
great  shock  to  this  simple  class  of  the  dear  public  to  see  a  woman 
given  so  many  honors  as  Miss  Teasdel  has  won  both  at  home  and  in 
art  centers  abroad. 

As  a  water  colorist  Miss  Teasdel  is  superior.  She  handles  that 
medium  in  a  spontaneous,  free  way.  Water  color  is  a  disappointment 
when  handled  in  the  same  manner  as  oil.  It  has  peculiar  beauties,  and 
while  it  is  not  as  true  a  medium  for  values  as  oil,  certain  evanescent 
qualities  can  better  be  secured  by  its  use. 

Miss  Teasdel  has  never  sacrificed  her  ideals  for  commercial  pur- 
posses.  None  has  been  truer  to  the  intentions  of  art.  There  is  noth- 
ing photographic  in  her  paint,  for  her  own  individuality  is  plainly  evi- 
dent. This  leads  the  writer  to  believe  that  she  has  the  necessary  qual- 
ities that  will  make  herself  a  style  of  her  own. 

Style  is  the  "Golden  Fleece"  with  which  the  ambitious  artist 
would  wrap  his  canvas. — Not  that  even  a  genius  can  construct  a  style 
for  his  use, — rather  he  cannot  get  away  from  what  he  is, — individti- 
ality  is  persistent. 


64  Devotees  and  their  Shrines. 


THE  GREAT  TEST  OF  ART. 


If  you  doubt  the  art  quality  of  a  picture,  ask  yourself,  ''Could  a 
kodak  do  the  work?"  If  a  book  carries  no  impression  of  the  author's 
individuality;  if  any  one  might  write  that  way,  the  book  fails  to  rise 
^  into  the  field  of  literature.  The  lack  of  style  is  as  fatal  to  a  picture  as 
to  a  book.  If  the  camera  could  do  it,  be  satisfied  by  letting  the 
picture  be  an  artistic  photograph.  The  greatest  art  must  have  the  es- 
sential quality  beauty.  But  a  picture  may  have  that  quality  and  still 
fall  short  as  a  work  of  art — it  may  be  destitute  of  style. 

Good  art  must  at  least  be  a  translation,  never  a  copy.  Whistler 
says,  "If  imitation  were  the  greatest  art,  then  the  king  of  art  would  be 
the  photographer!"  Certainly  the  public  has  a  fondness  for  the  photo- 
graphic and  yet  they  are  not  satisfied  with  the  honest  photograph,  but 
desire  photographic  paintings  and  then  they  insist  that  the  work  should 
be  classed  with  the  fine  arts,  if  you  please ! 

But  art  is  growing.  The  artists  are  more  appreciated  and  many 
people  now  are  discarding  bad  pictures  and  placing  good  ones  in  their 
homes  and  there  are  those  who  are  interested  in  real  art  and  who  know 
that  art  is  selection  and  interpretation,  but  not  imitation. 

UTAH  ART  INSTITUTE. 

The  state  institution  for  the  encouragement  of  the  fine  arts,  com- 
prising, according  to  law,  an  annual  art  exhibition,  a  state  collection,  a 
course  of  public  lecures  on  art  and  an  annual  prize  of  $300  for  the 
best  painting  (to  become  a  part  of  the  Alice  Art  Collection)  was 
created  by  the  Third  Legislature.  The  Art  Institute  held  its  fifteenth 
exhibition  in  Dec,  1913.  At  this  time  John  H.  Mozier  of  Logan 
won  the  state  prize.  At  the  first  exhibition,  opened  Monday  evening, 
December  4,  1899,  Governor  Heber  M.  Wells  said,  "This  Institute 
and  this  exhbition  is  the  direct  result  of  woman's  enfranchisement  in 
Utah." 

The  author  of  this  book  accepted  the  nomination  to  the  lower 
house  for  the  purpose  of  working  for  the  Art  interests  of  Utah  and 
was  the  author  of  the  bill  which  became  a  law  in  1899. 

Utah  was  the  first  state  to  create  an  art  department  at  state  ex- 
pense. The  Art  institute  will  do  great  good  if  it  be  not  used  by 
ofificials  for  political  advantages. 


A  Handbook  of  Utah  Art.  65 

ROSE  HARTWELL. 

Rose  Hartvvell  is  known  in  local  art  circles  as  an  excellent  color- 
ist.  She  paints  with  oils,  both  landscape  and  portrait.  Her  portraits 
include  both  life-size  and  miniature.  For  the  latter  she  has  a  passion 
and  she  is  very  successful  in  that  field.  If  no  other  line  of  art  were 
open  to  her  than  the  miniature  she  would  still  be  able  to  make  a  place 
for  herself.  She  pursues,  however,  other  lines  and  in  all  of  her  work 
her  very  excellent  coloring  is  evident.  None  -of  our  other  artists  have 
had  the  privilege  of  the  extensive  travel  abroad  that  Rose  Hartwell 
has  enjoyed.  She  has  spent  years  in  the  art  centers,  and  has  been  an 
exhibitor  in  the  Salon  for  years.  Miss  Hartwell  is  home  again  and 
comes  as  a  valuable  member  of  our  strong  art  circle  in  Utah. 

Her  debut  in  the  Paris  Salon,  1903,  has  been  followed  up  by  the 
acceptance  of  her  pictures  at  more  recent  exhibitions. 

The  Holmes  gallery  on  South  Temple  and  State,  contains  Miss 
Hartwell's  first  Salon  picture.  This  brought  the  artist  one  thousand 
dollars.  Our  local  painters  agree  that  it  is  the  best  picture  in  Mr. 
Holmes'  collection. 

In  the  Commercial  Club  of  Salt  Lake  City  is  to  be  seen  a  large 
canvas  by  this  woman  painter.  A  few  prominent  people  in  our 
social  art  circles  also  own  some  of  her  water  colors. 

Besides  being  a  painter  she  is  a  linguist  and  letter  writer  of  no 
mean  order.  Much  might  be  written  concerning  her  art  work,  but 
to  show  the  broad  life  and  wide  experience  of  art  students  abroad  it 
seems  well  to  quote  from  letters  written  by  Miss  Hartwell  while  study- 
ing art.  This  correspondence  will  be  helpful  to  prospective  art  stu- 
dents abroad.  Before  opening  up  this  theme,  however,  w^e  pause  to 
quote  a  remark  her  critic  teacher,  Castelucho,  made :  "Miss  Hart- 
well, you  must  be  considered  very  wonderful  in  your  native  home, 
for  your  coloring  if  for  nothing  else." 

Of  her  childhood  she  wrote  : 

"From  an  artistic  standpoint  my  childhood  was  not  very  interest- 
ing, as  nothing  was  farther  from  my  mind  than  pictures  and  artists, 
for  I  had  never  even  heard  of  such  things,  and  my  only  ideas  on  the 
subject  were  gained  from  the  illustrations  in  our  school  books,  or 
perhaps  now  and  then  I  saw  illustrated  magazines  or  weekly  papers. 

"In  school  I  used  to  try  to  draw  people  on  my  slate  as  most  every 
child  does,  but  my  efforts  elicited  the  admiration  of  my  playmates  only, 
and  generally  a  reprimand  from  the  teacher.  Mr.  Harwood  was  my 
first  teacher  in  art,  and  when  I  went  to  him  I  had  never  thought  of 
taking  it  up  seriously.    He  started  me  in  water  color  and  drawing  and 


ROSE  HARTWELL. 


Holmes'  Art  Gallery. 


A  Handbook  of  Utah  Art.  67 

seemed  pleased  with  my  progress,  so  suggested  my  taking  up  oils, 
which  I  did. 

"If  I  have  talent  it  was  Harwood  who  first  discovered  it,  and  the 
longer  I  study  art  the  more  grateful  I  am  to  him  for  his  careful  instruc- 
tion. He  and  Mr.  Will  Clawson  were  my  only  teachers  in  America 
and  they  both  advised  me  to  go  to  Paris." 

Of  the  necessity  for  some  art  preparation  at  home,  she  says : 
''It  would  have  been  a  great  advantage  to  me  had  I  stayed  a  year 
longer  at  home  under  Mr.  Harwood's  instruction,  for  one  does  not 
find  in  these  studios,  teachers  who  are  as  painstaking.  One  saves  a 
great  deal  of  time  in  Paris  by  coming  here  with  a  good  foundation 
in  draziing  and  that  can  be  had  in  the  United  States,  as  well,  if  not 
better,  than  in  any  other  country.  With  the  exception  of  four  months 
of  out-of-door  work,  I  did  not  touch  oils  during  the  first  six  years  that 
I^  was  in  Europe, — and  that  is  another  thing  I  regret  and  which  I 
would  not  advise  for  pupils,  for  I  lost  entirely  a  certain  facility  of 
technique  which  I  had  acquired  with  Mr.  Harwood  and  which  then 
seemed  quite  natural." 

HOW  TO  BEGIN. 

"In  beginning  art  study,  one  should  be  careful  with  the  drawing, 
but  it  is  not  necessary  to  draw  always  in  black  and  white  or  with 
crayons.  One  can  be  just  as  careful  with  the  drawing,  when  working 
in  color  ^  and  even  do  broader,  more  interesting  work,  looking  for 
the  larger  planes  of  light  and  shade  than  with  lines.  I  think  it  a  good 
plan  to  work  a  half  day  at  drawing  and  the  other  half  at  painting. 

"W^hen  I  left  home  I  was  quite  unprepared  for  what  was  before 
me,  for  my  decision  had  been  made  so  quickly  that  I  had  had  no  time 
to  get  what  knowledge  I  could  from  books.  However,  I  thought  if  I 
did  as  the  little  boy,  whose  mother  told  him  not  to  speak  and  then  peo- 
ple would  not  find  out  that  he  was  a  fool,  it  would  not  be  suspected  how 
little  I  knew. 

"I  had  the  advantage  of  crossing  the  ocean  with  a  party  of  very 
intelligent  women  from  Chicago,  mostly  school  teachers  who  had  been 
preparing  for  a  trip  through  Great  Britain,  especially  to  visit  the  great 
cathedral  towns.  This  was  most  enjoyable  and  instructive  for  me. 
I  had  only  to  remain  silent,  admire  and  listen  to  their  conversation. 

IN  PARIS. 

"I  arrived  in  Paris  with  about  a  dozen'  French  words  at  my 
command,  but  they  never  seemed  to  be  just  the  words  I  needed,  so  I 
gave  them  up  and  resorted  to  plain  English,  which  was  generally 
better  understood  than  poor  French.    The  first  thing  to  do  was  to  look 


68  Devotees  and  their  Shrines. 

up  studios  and  a  comfortable  pension,  and  as  the  Julian  schools  had 
been  recommended,  I  went  to  one  of  them  first.  There  I  met  a  very 
charming  American  student,  who  acted  as  interpreter  for  me,  and  who 
afterward,  went  with  me  to  find  rooms  or  pension.  She  advised  me 
not  to  start  work  at  a  Julian  studio  as  they  were  generally  so  crowded 
in  the  winter  that  the  critics  could  give  very  little  time  to  each  pupil. 

''She  then  told  me  of  the  'Vitti'  school,  of  which  I  had  also  heard 
before,  and  advised  me  to  go  there.  It  is  in  the  Latin  quarter  and 
near  the  American  Girls'  club,  where  I  could  get  help  and  advice  about 
things  I  did  not  understand.  I  was  very  glad  that  I  followed  her  ad- 
vice and  soon  began  to  feel  quite  at  home,  for  there  seemed  to  be  more 
Americans  and  English  in  the  'quarter'  and  in  the  'Vitti'  than  French. 
There  I  met  an  English  girl  who  afterward  became  a  very  dear  friend 
and  with  whom  I  spent  the  first  six  years  of  my  European  life.  \\'e 
took  apartments,  kept  house  together,  and  traveled  together  constantly. 
The  first  two  years  I  kept  steadily  at  drawing  from  eight  till  five,  only 
taking  off  Saturday  afternoons  to  visit  the  galleries.  The  study  of 
pictures,  I  soon  discovered,  was  as  much  a  part  of  my  education  as 
my  studio  work.  The  Louvre  was  a  constant  source  of  instruction,  for 
I  found  as  I  became  acquainted  with  the  old  masters  and  their  works, 
I  was  helped  in  my  studio  work  and  my  studio  work  made  me  appre- 
ciate them. 

APPRECIATION  OF  ART. 

"You  ask  what  my  appreciation  of  art  means  to  me.  It  means 
this ;  that  if  I  never  do  anything  worthy  of  mention,  myself,  I  should 
never  regret  the  study  I  have  given  art  in  order  to  appreciate  the  art 
in  others.  My  ideas  and  opinions  about  art  have  passed  through  many 
stages  and  it  was  some  time  before  I  could  appreciate  the  good  and 
respect  the  bad  in  the  different  collections.  When  I  say  respect  the 
had  I  mean  just  that,  for  one  feels  with  the  old  masters,  if  their  efforts 
were  not  always  successful  they  were  honest  in  their  attempt  to  portray 
what  they  saw  and  felt.  We  do  not  see  our  ideal  in  any  of  them 
and  we  never  see  it  in  our  oziii  work." 

ITALY. 

"At  the  end  of  two  years  study  my  friend  and  I  went  to  Italy, 
where  we  had  eighteen  months  of  the  most  delightful  work,  not  art 
alone,  but  the  study  of  Italy,  its  history,  art,  antiquity,  etc.  We 
traveled  from  north  to  south,  even  to  Sicily,  read  Laucinni's  books  on 
Ancient,  Mediaeval,  and  Modern  Rome,  which  are  far  better  than 
any  lectures  one  can  hear  on  the  subject. 


A  Handbook  of  Utah  Art.  69 

**We  visited  all  of  the  principal  cities  and  some  of  the  less  im- 
portant ones,  finding  them  all  interesting  in  different  ways. 

"Everybody  hears  and  knows  about  the  large  cities,  so  I  will 
tell  you  about  life  in  two  of  the  small  towns.  The  first  was  at  San 
Giminguano — a  quaint  old  walled  town  in  the  Volterra  mountains. 
The  wall  was  mostly  destroyed  and  out  of  over  fifty  towers  eleven 
remain,  all  more  or  less  in  a  state  of  decay.  We  spent  four  months 
here  and  I  did  my  first  oil  painting  since  leaving  America. 

''We  had  a  furnished  apartment  and  the  good  will  of  the  town  and 
that  is  enough  to  make  one  happy  in  a  small  Italian  town.  The  peas- 
ants were  devoted  to  us  and  ready  to  wait  upon  us  for  a  few  soldi, 
but  were  quite  happy  if  we  only  smiled  on  them.  The  hills  around 
the  town  were  covered  with  olive  trees  and  vineyards,  which  afforded 
many  motives  for  sketching,  and  the  atmospheric  effects  were  the 
most  wonderful  I  ever  saw. 

"We  stayed  late  enough  in  the  autumn  to  assist  at  the  vintage  and 
I  never  had  such  a  feast  of  grapes  in  my  life.  Our  landlord  owned  a 
good  share  of  the  land,  and  as  soon  as  the  grapes  began  to  ripen  he 
kept  us  liberally  supplied  with  .them,  sending  us  every  day  a  basket 
full,  with  no  charges  except  a  few  soldi  to  the  bearer.  When  it  was 
time  to  begin  to  gather  for  the  wine  making,  he  sent  his  cart,  drawn  by 
two  beautiful  white  oxen,  to  take  us  out  to  the  vineyards  two  or 
three  miles  distant. 

"We  were  allowed  to  climb  the  ladders,  gather  the  grapes  and 
drop  them  in  small  wooden  tubs  where  they  were  crushed  by  large 
sticks;  a  woman  stood  by  each  tub  to  do  this  as  the  branches  dropped. 
These  tubs,  as  soon  as  filled,  were  emptied  into  the  tonus  which  re- 
n.'ained  on  the  cart,  and  as  soon  as  this  was  filled  (generally  to  over- 
flowing), it  was  driven  back  to  the  town  to  the  wine  press,  which  was 
in  our  house.  There  was  a  trail  of  grape  juice  along  the  route  which 
made  one  remark  how  improvident  are  the  poor  generally,  especially 
with  that  to  which  they  are  accustomed. 

"We  followed  back  after  the  last  cart,  the  peasants  keeping  at  a 
respectful  distance,  except  when  we  asked  a  question.  Then  the  fore- 
man would  lift  his  hat  and  hasten  to  our  side  to  give  any  information. 

"We  had  learned  Italian  quite  well,  which  made  this  sojourn  much 
pleasanter.  I  asked  the  landlord  if  we  could  go  and  see  them  make  the 
wine,  and  if  the  man  washed  his  feet  before  'treading  the  wine  press.' 

"He  told  me  I  should  go  and  see.  The  man  who  was  to  do  the 
work,  was  standing  in  a  lar^e  bucket  of  cold  water,  his  trousers  rolled 
up  above  his  knees.  Stepping  out  of  the  water  he  dried  his  feet  and 
legs  as  best  he  could  on  an  old  sack,  then  ran  up  a  sort  of  ladder  and 
stepped  into  a  huge  vat,  which  was  almost  twice  his  height,  and  it 


70  Dez'otees  and  their  Shrines. 

seemed  certain  that  he  would  drown,  for  we  could  see  the  juice  come 
bubbling  over  the  edge.  We  soon  saw,  though,  that  he  was  very  ex- 
pert, and  knew  how  to  keep  on  top  of  the  pulp  which  had  all  risen  to 
the  top,  leaving  only  the  juice  at  the  bottom.  The  principal  thing  is 
to  see  that  every  grape  is  thoroughly  submerged  by  the  juice  at  least 
twice  a  day,  and  this  is  done  by  tramping  over  the  pulp  very  quickly, 
until  all  has  been  thoroughly  soaked.  We  did  not  hesitate  to  finish  a 
demijohn  of  this  same  juice  before  the  fermentation  began. 

"The  whole  thing  is  done  just  as  Virgil  describes  it  in  his 
*Georgics,'  even  to  the  planting  of  the  vines  and  the  white  oxen  and 
the  cart ;  so  you  can  see  how  primitive  the  whole  country  is. 

"At  Ana  Capri  we  also  took  a  little  cottage  and  were  treated  right 
royally  by  the  people,  each  one  trying  to  out-do  the  other.  Our  land- 
lady, who  looked  more  like  an  American  squaw  than  a  white  person, 
used  to  do  our  marketing  for  us,  and  here  for  the  first  few  days,  the 
dialect  was  beyond  us.  For  instance,  she  would  come  in  the  morning 
and  tell  us  she  was  going  to  Bazha  Gabre,  which  we  afterwards  dis- 
covered meant  Bassa  Capri,  or  Lower  Capri,  where  those  living  at 
the  top  had  to  go  to  get  their  provisions.  The  women  of  Ana  Capri 
(the  young  women),  walk  like  queens  and  are  very  handsome,  being 
of  Greek  type,  but  on  account  of  constantly  carrying  such  loads  as 
heavy  barrels,  blocks  of  stone,  etc.,  on  their  heads,  and  up  steep  hills, 
before  they  are  old  they  are  bent  and  misshapen  and  not  delightful  to 
look  upon.  We  explored  the  island  from  the  higher  to  the  lowest  point 
with  a  Danish-Russian  count  as  guide  and  companion.  This  man,  who 
was  well  educated,  speaking  many  languages,  and  about  forty-five 
years  old,  had  devoted  his  life  to  charitable  purposes. 

"He  had  bought  an  old  convent  and  remodeled  it  and  fitted  it  up 
as  a  sort  of  retreat  for  broken-down  ministers  and  their  families.  They 
could  go  there  free  of  charge,  have  good  food  and  plenty  of  it,  with 
nothing  to  do  but  rest  and  get  plenty  of  pure  air  and  sunshine. 

"He  was  also  the  village  physician,  giving  his  services  and  medi- 
cine free.  His  father,  who  had  been  a  Russian  admiral,  and  had  mar- 
lied  an  English  lady  of  nobility,  was  living  in  Naples  and  carrying  on 
the  same  kind  of  work  there.  It  is  only  by  going  and  living  among 
the  people  that  one  really  knows  the  country,  and  while  there  may  be  a 
large  scope  in  the  cities,  it  is  nearly  the  same  in  them  all. 

"En  route  through  Italy,  we  visited  several  towns  we  had  missed 
going  down.  Among  others  was  Venice,  which  I  was  afraid  to  leave 
for  another  visit  to  Italy.  I  can't  make  up  my  mind  which  is  the 
greater  pleasure,  to  visit  a  city  for  the  first  time  or  to  return  to  it  a 
second  or  third  or  even  a  fourth  time. 

"I  met  my  niece  as  appointed,  and  three  of  us  started  for  a  trip 


A  Handbook  of  Utah  Art.  71 

through  Belgium  and  Holland,  and  returned  to  Paris  in  the  fall.  This 
time  I  took  up  art  in  the  Julian  school,  but  I  found  it  about  the  same 
standard  as  the  'Vitti.'  In  1899  I  sent  up  my  first  work — a  miniature — 
to  the  Salon  and  waited  with  fear  and  trembling.  I  had  not  told  them 
at  home,  for  I  thought  if  it  were  refused  I  would  rather  bear  the  disap- 
pointment alone,  and  if  it  were  accepted  there  would  still  be  time  for 
rejoicing.  But  I  lost  no  time  in  sending  home  the  news  of  my  success. 
"After  the  first  trial,  it  was  never  so  exciting  again,  though  I  was 
always  glad  when  the  notices  came — all  but  once ;  for  out  of  five  times 
sending  to  the  Saloii  I  have  been  four  times  admitted.  That's  not 
bad,  is  it?" 

MY  IDEAL  IN   PICTURES. 

"Whose  pictures  appeal  most  to  me?"  you  ask.  That  is  very  diffi- 
cult to  say,  for  different  pictures  appeal  to  one  from  different  stand- 
points. For  instance,  Van  Dyke's  appeal  to  me  for  the  spirit  of  refine- 
ment as  well  as  the  coloring ;  Franz  Hals  for  his  strength  and  decided 
way  of  painting;  Rubens,  for  his  beautiful  color;  Velasquez  and  Rem- 
brandt for  their  color  technique,  and  so  on.  There  is  something  in 
all  of  them  that  must  appeal  to  one." 

MISS  hartwell's  travels. 

"You  wish  to  know  what  countries  I  have  visited.  It  would  almost 
be  easier  to  tell  you  what  countries  I  have  not  visited.  England,  Ire- 
land, Scotland,  Wales,  three  times  over;  France,  Holland,  Belgium, 
Switzerland,  Italy,  Norway,  Germany,  Austria,  Egypt,  Greece  and 
Turkey.  To  visit  many  of  these  I  have  returned  a  third  or  fourth  time 
and  to  some  I  intend  to  go  again.  In  Paris  and  Florence  I  am  more 
at  home  than  in  Salt  Lake  City.  To  me,  travel  seems  as  necessary  to 
one's  education  as  books,  and  it  is  through  travel  only  that  one  gets 
clear  and  concise,  yes,  and  independent,  ideas  of  a  country.  Paris  is 
the  greatest  educator  of  all  the  cities  I  have  visited. 

"One  can  follow  in  Paris  any  and  every  branch  of  learning  he 
wishes  to  pursue,  and  always  have  good,  if  not  the  best,  instructors, 
be  it  in  music,  art,  science,  literature,  or  the  humble  crafts  and  trades. 
Paris  is  certainly  'the  Art  Center,'  for  among  the  students  at  Castel- 
ucho's,  last  winter,  I  believe  every  nationality  was  represented.  In  the 
class  where  I  am  working  we  have  had,  at  one  time,  American,  Eng- 
lish, German,  French,  Austrian,  Prussian,  Italian,  Spanish,  Mexican, 
Portuguese,  Polish,  Russian,  Danish,  Norwegian,  Bohemian,  Slav  and 
Turkish  students. 


72 


Devotees  and  their  Shrines. 


RICHARDS. 


JOSEPH  AND  HYRUM. 


Alemorial  Cottage. 


LEE  GREENE  RICHARDS. 

Lee  Greene  Richards  was  born  with  an  exalted  gift.  From  both 
father  and  mother  he  inherits  artistic  tendencies.  His  mother,  Louisa 
L.  Greene  Richards,  who  is  descended  from  the  same  Hne  of  ancestry 
as  was  the  gallant  General  Nathaniel  Greene,  is  a  poet. 

The  Richards  family,  too,  spring  from  Revolutionary  fathers. 
For  centuries  they  have  shown  a  decided  tendency  toward  intellectual 
pursuits,  such  as  medicine,  letters,  law,  music,  art  and  the  ministry. 

Lee  Greene  Richards  is  one  of  three  generations  of  painters.  His 
father,  Levi  Willard  Richards,  a  man  of  unusual  intelligence,  high 
character  and  charming  presence,  confesses  to  this  day  a  hunger  for 
the  art  life.  Several  of  his  youthful  efforts  in  pencil  and  water  color 
are  preserved.  Conditions  in  early  days  held  out  no  encouragement  to 
the  art  student,  but  this  man's  unsatisfied  desire  has  in  a  measure  been 
gratified  through  the  success  of  his  son  as  a  painter. 

Sarah  Griffith  Richards,  Lee's  grandmother,  who  was  also  an 
artist,  recognized  the  boy's  talent  and  taught  him  how  to  develop  his 
gift.  They  used  the  same  box  of  water-colors,  shared  with  equal  priv- 
ilege one  set  of  brushes,  and,  side  by  side,  made  pictures.  These  early 
efforts  never  descended  to  play ;  painting  came  to  be  thinking — it  was 
correcting.  Though  Lee  was  precocious,  he  got  no  patting  on  the 
back,  no  setting  up  as  a  hero  from  father  nor  from  grandmother,  but 
instead,  "That  is  a  good  effort,  but  tomorrow  you  must  do  better." 


A  Handbook  of  Utah  Art. 


73 


RICHARDS. 


BATHSHEBA  W.  SMITH. 


Womans  Building. 


Sarah  Griffiths  and  her  cousin  Grace  had  studied  from  a  master  in  Eng- 
land. Both  had  talent ;  the  latter  painted  with  the  same  technical  qual- 
ities and  spirit  as  the  noted  English  painter  John  S.  Cottman.  Her 
style  is  broad  and  simple,  and  it  is  possible  she  was  a  student  of  Cott- 
man. The  sketches  and  pictures  of  these  women  artists  are  charming 
notes  of  color.    They  are  owned  by  Mr.  Richards. 

EARLY  INFLUENCES. 

Through  the  influence  of  his  grandmother,  Lee  came  to  look  upon 
the  English  eighteenth  century  school  with  Hogarth,  Romney,  Sir 
Henry  Raeburn,  Reynolds  and  Gainsborough,  as  the  great  school  of 
painting.  To  these  ideals  he  has  added  Rubens,  Van  Dyke,  and  Franz 
Hals — the  painters  of  red,  healthy  blood. 

Lees'  father  had  a  congenial  friend  and  neighbor,  George  M.  Ot- 
tinger,  and  many  an  enchanted  hour  the  boy  passed  in  that  wonder- 
place,  Ottinger's  studio. 

When  James  T.  Harwood  returned  from  Europe,  our  youthful 
painter  came  to  him  for  study  with  a  mature  mind  and  a  fund  of 


74 


Devotees  and  their  Shrines. 


self- found  information  that  surprised  the  older  painters.  Evans,  Hafen, 
Haag,  all  were  interested  in  his  art  development.  Mr.  Richards  now 
says,  "I  got  as  much  from  Harwood  as  from  any  teacher  that  I  had 
afterwards  in  Paris.  His  sound  academic  training,  such  as  the  art 
schools  give,  is  good  for  any  student,  no  matter  what  field  of  art  he  may 
ultimately  choose. 

He  filled  a  mission  to  England  at  the  age  of  eighteen  3^ears,  and 
had  opportunities  to  visit  the  galleries.  At  the  close  of  his  missionary 
labors  he  visited  Paris,  and  for  a  brief  space  of  time  became  absorbed 
in  its  various  phases  of  beauty.  But  he  was  withheld  from  entering 
upon  the  career  that  lay  open  before  him.  It  takes  money  to  live  while 
studying  art;  it  takes  a  great  deal  of  money  to  produce  art.  Raphael 
and  Michael  Angela  could  not  have  become  the  inspiration  of  the  cen- 
turies that  succeeded  them  zvithout  adequate  financial  assistance.  The 
great  Medici,  the  wealthy  merchants,  the  Pope,  and  the  Church,  all 
stood  back  of  them.  It  was  the  vogue  at  that  time  for  an  artist  with 
gferat  talent  to  be  employed  by  a  wealthy  patron.  Thus  all  anxiety  for 
maintenance  was  overcome,  and  the  artist  was  permitted  to  spend  his 
whole  energy  upon  the  development  of  his  talent.  Thus  the  wonderful 
masterpieces  of  the  Italian  Rennaissance  were  made  posisble.  How 
vastly  different  were  the  opportunities  of  our  painter,  Lee  Greene 
Richards. 


PORTRAITS  BY  LEE  GREENE  RICHARDS. 


A  Handbook  of  Utah  Art 


75 


RICHARDS.      PORTRAIT  OF  LEVI  W.  RICHARDS. 


He  stood  in  the  heart  of  Paris,  amidst  the  accumulation  of  cen- 
turies of  art.  The  power  of  genius  stirred  within  him.  He  was  rich 
in  hope,  in  aspiration,  and  in  feehng,  but  he  had  no  money.  He  was 
alone.  There  was  no  brilliant  Medici  to  back  him,  and  he  turned  sor- 
rowfully homeward.  He  must  provide  his  own  means  for  art  study ;  so, 
finding  employment  in  the  State  Bank  of  Utah,  he  worked  and  saved 
for  three  years.  Then  he  could  wait  no  longer.  With  summer  in  his 
heart  and  gratitude  filling  his  whole  being,  he  turned  again  to  face  the 
world,  this  time  seeking  fame  as  a  painter  in  that  city  of  opportuni- 
ties. 

A  year  at  the  Julian  was  followed  by  a  season  at  the  Government 
School,  Eccoles  de  Beaux  Arts,  but  at  the  beginning  of  the  third  year 
he  broke  away  from  school,  rented  a  private  studio,  and  went  his  own 
wav. 


76 


Devotees  and  their  Shrines. 

SUCCESS  AT  THE  SALON. 


While  a  student  at  the  Beaux  Arts,  success  crowned  his  efforts,  for 
his  portrait  of  Dr.  Heber  John  Richards  (who  was  then  living  in 
Paris),  was  accepted  and  well  hung  at  the  Societe  des  Artistes  Francais. 
This  signal  achievement  gave  no  surprise  to  his  many  admirers  at 
home  nor  to  friends  in  Paris. 


RICHARDS.     DR.  HEBER  JOHN  RICHARDS.        Paris  Salon. 


DREAMS. 

When  Lee's  mother  said  "Artists  can  never  hope  for  riches,"  the 
boy  replied,  "No,  but  they  can  be  happy."  Byron  says,  "Dreams  in 
their  development  have  breath."  His  hope  and  dream  always  was  to 
become  a  painter.  He  had  other  dreams.  In  sleep  he  has  seen  some 
of  his  most  successful  pictures.  He  dreamed  he  saw  his  picture  at  the 
Salon  with  a  ticket  showing  that  it  had  received  a  medal.     The  im- 


A  Handbook  of  Utah  Art.  77 

pression  was  so  strong  that  Mr.  Richards  went  to  work  and  painted  as 
the  dream  had  revealed  the  picture.  It  was  accepted  at  the  Salon  and 
missed  the  medal  by  one  vote.  However,  Lee  Greene  Richards  headed 
the  list  for  Honorable  Mention.  No  other  Utah  painter  has  received  so 
great  a  distinction.  At  this  same  exhibition  Mr.  Richards  also  was  ac- 
cepted with  a  large  water  color  landscape,  and  a  portrait  of  his  friend 
Mr.  Frederick  W.  Pope  of  Boston,  a  sculptor  who,  in  the  same  Salon, 
had  a  portrait  bust  of  our  artist,  which  is  reproduced  here.  This  was 
an  important  advance  in  his  career. 

November,  1903,  marked  the  organization,  in  Paris,  of  an  art 
society  which  conducts  an  annual  exhibition  known  as  the  Salon  d' 
Automne.  Exhibitors  were  allowed  to  send  only  three  canvases.  Mr. 
Richards  sent  a  portrait  of  his  cousin,  Blanche  Richards,  and  two  land- 
scapes in  oil.  The  portrait,  a  half-length  figure,  has  most  excellent  tone 
and  color  qualities.  This  portrait  is  now  in  Provo,  in  the  possession 
of  Mrs.  H.  J.  Richards.  Ifis  a  picture  that  will  live.  The  three  pic- 
tures were  accepted,  and  for  their  excellence,  Mr,  Richards  was  elected 
a  full  member  of  the  Societe  dii  Salon  d' Automne.  He  is  the  only 
Utahn  to  receive  similar  honors  abroad.  By  invitation,  he  exhibited  in 
the  International  Society  of  Painters,  Sculptors  and  Etchers,  in  Lon- 
don, Manchester,  Bromley  and  Birmingham.  Being  invited,  he  also 
sent  pictures  to  Philadelphia  and  Chicago  for  some  important  exhibi- 
tions. In  June,  1904,  Mr.  Richards  returned  home,  visiting  the  St. 
Louis  Exposition  en  route,  where  he  saw  his  portrait  of  Mrs.  H.  J. 
Richards  well  placed.  This  picture  is  one  of  his  best  efforts,  and  is  now 
a  part  of  The  Alice  Art  Collection,  and  is  truly  a  great  picture. 

Upon  his  return,  Mr.  Richards  received  a  commission  to  paint 
three  portraits  for  the  general  Relief  Society — one  of  President  Bath- 
sheba  W.  Smith,  one  of  Secretary  Emmeline  B.  Wells — a  poetic  pic- 
ture of  a  poet, — and  one  of  Jane  S.  Richards,  a  former  counselor  of 
Zina  D.  Young.  The  portraits  are  among  his  best  works,  and  hang 
in  the  Relief  Society  apartments.  Portraits  of  Dr.  John  R.  Park,  for 
the  University  of  Utah,  and  of  President  Elmina  S.  Taylor,  for  the 
Y.  L.  M.  I.  A.,  were  later  painted. 

Those  who  visit  the  memorial  cottage  in  Sharon,  Vermont,  will 
find  some  charming  portraits  of  Joseph  aad  Hyrum,  and  Mother  Lucy 
Mack  Smith.  They  hang  over  the  quaint  mantel  in  the  hall.  This  cot- 
tage enshrines  the  hearthstone  of  Joseph  and  Lucy  Mack  Smith's  home. 

Who  but  an  artist  should  marry  a  quaint,  quiet  girl  like  Mary  Jane 
Eldredge,  the  daughter  of  the  late  Horace  S.  Eldredge  and  Chloe  R. 
Redfield  Eldredge?  With  a  quick  sense  for  harmony  and  beauty  in- 
herited from  her  mother,  Mrs.  Richards  makes  a  wife  who  will  create 


78 


Devotees  and  their  Shrines. 


RICHARDS.     TRAUMERI. 


an  artistic  home  atmosphere.  An  honest  living  up  to  the  great  princi- 
ples of  art  will  be  possible  in  a  home  shared  with  this  woman. 

Mr.  and  Mrs.  Richards  have  spent  considerable  time  abroad,  and 
have  visited  many  famous  galleries  in  different  cities.  On  returning 
home,  Mr.  Richards  says,  **I  feel  that  my  year  in  Europe  has  only  con- 
firmed my  belief  in  the  traditions  of  the  past.  I  am  also  convinced  that 
art  traditions  are  not  like  the  laws  of  the  Medes  and  Persians,  un- 
changeable, but  it  is  for  every  man  to  work  out  his  own  salvation.  True, 
there  are  certain  fundamental  principles  which  all  great  artists  have  rec- 
ognized. Each  artist  adapts  these  to  his  own  especial  and  individual 
needs  in  order  that  he  may  perfectly  reveal  himself."  In  the  growth 
and  development  of  an  artist  he  must  pass  through  several  stages.  At 
different  steps  he  may  seem  to  have  opposite  tendencies,  and  still  remain 
true  to  himself. 

As  a  boy,  Lee  painted  in  light,  glowing,  brilliant  colors,  and  in  a 


A  Handbook  of  Utah  Art.  79 

frank,  spontaneous  manner.  Later  he  became  interested  in  gray 
schemes,  in  tonal  quaHties,  rather  than  in  decided  pure  colors.  Such 
themes  as  twilight,  gray  days,  and  moonlight  appealed  strongly  to  him. 
It  was  during  this  period  that  the  portrait  of  Mrs.  H.  J.  Richards  was 
painted.  An  artist  has  described  this  picture  as  a  poem  in  tone.  A 
portrait  of  Mrs.  Elmina  S.  Taylor,  Mr.  Richards  treated  in  a  very 
similar  manner.  The  character  of  this  wonderful  and  spiritual  woman 
IS  well  suggested. 

A  portrait  of  his  father,  Levi  W.  Richards,  is  a  strong  presenta- 
tion of  a  noble  character.  A  living  soul  seems  to  light  up  the  very  can- 
vas. It  is  an  exquisite  rendition,  showing  a  sympathetic  understanding 
that  is  possible  between  a  father  and  a  son,  when  both  are  of  serious 
artistic  temperament. 

The  Autumn  Salon,  1909,  exhibited  two  portraits  by  Mr.  Rich- 
ards, one,  "Lucette,"  a  charming  scheme  of  black  and  white  of  a  twelve- 
year-old  girl.  It  was  called  "distinguished"  by  art  critics.  "Le  Sac 
Rouge,"  a  portrait  of  his  wife,  is  painted  with  an  extremely  simple  pal- 
ette. No  colors  were  used  except  black,  white,  yellow  ochre  and  red, 
but  a  beautiful  decorative  design  and  arrangement  of  drapery  was 
achieved.  The  grace  and  movement  and  drawing,  especially  of  the 
hands,  were  noted.  Another  successful  portrait  Mr.  Richards  painted 
during  his  last  trip  abroad,  of  Mr.  Harold  Eldredge  in  his  costume  used 
in  the  title  role  of  Wagner's  opera,  "The  Flying  Dutchman."  The  com- 
position and  coloring  reveal  the  melancholy,  gloomy  character  of  the 
enchanted  mariner.  The  following  year,  the  portrait  of  Mrs.  Jos.  L. 
Rawlins  was  shown  at  the  Autumn  Salon.  This  picture  is  at  present 
hung  in  the  Social  Hall,  in  the  exhibition  of  the  Associated  Artists  of 
Salt  Lake.  One  of  the  latest  products  of  his  brush  is  of  unusual  inter- 
est, being  painted  in  a  light,  glowing  scheme  of  rich,  bright  color.  It 
is  a  portrait  of  President  Bathsheba  W.  Smith.  An  inspiring  expres- 
sion lights  the  face;  the  intelligent  eye  and  the  pleasing,  expressive 
mouth  give  the  character  and  feeling  of  a  living  woman.  The  flesh 
tints  are  charming.  Nothing  in  the  whole  world  equals  the  beautiful 
color  of  the  human  flesh.  No  other  rose  is  so  lovely  as  that  which 
matches  the  color  in  the  cheek.  The  master  Rubens  loved  those  tints 
and  shades,  and  this  portrait  of  Mrs.  Smith  is  suggestive  of  a  Rubens. 
Mr.  Richards  makes  a  striking  note  of  dignity  in  composing  his  por- 
tiaits  by  placing  the  head  high  upon  the  canvas. 

HIS  GREAT  QUALITIES. 

Lee  Greene  Richards  seeks  to  tell  the  character  of  his  sitter.  His 
desire  is  to  reveal  a  human  soul,  to  give  the  intelligence  of  the  eye,  the 
color  of  the  flesh  ;  in  a  word,  to  make  a  portrait  live. 


80 


Devotees  and  their  Shrines. 


His  honest,  frank,  direct,  fearless  way  of  painting  is  so  convincing 
that  he  has  won  the  honors  already  mentioned.  In  addition  to  this 
power  is  a  born  gift,  a  genius  to  discover  harmonies,  tonal  effects,  and 
qualities.  Composition,  the  fundamental  in  all  the  fine  arts,  has  in  him 
a  powerful  exponent.  He  has  the  instinct  of  selection^  and  therefore 
he  has  received  inspiration  and  subject  from  the  highest  sources. 

Children  he  paints  with  sympathy  and  understanding.  "I  love  the 
children  for  themselves,  you  know,"  he  says,  ''as  he  points  out  to  you 
their  qualities  of  life — freshness,  youth  and  strong  color. 


Portraiture  is,  perhaps,  Mr.  Richards'  greatest  field,  but  he  shows 
a  broad  range  of  appreciation  and  capacity.  His  landscapes  are  con- 
ceived with  the  same  artistic  power  as  are  his  portratis.  A  feeling 
for  effect  of  sunlight,  twilight,  or  moonlight,  reveals  a  decided  poetic 
tendency. 

Water  colors  he  has  always  handled  with  ease  and  facility.  M. 
M.  Young,  his  associate  from  pinafore  days  to  studio  life  in  Paris, 
said,  "Lee  has  always  known  how  to  paint.  It  was  as  easy  for  him 
to  paint  as  for  other  boys  to  play." 

His  aim  is  to  combine  with  classic  beauty  of  line  and  form  living 
nature,  freshness,  harmony,  brilliant  rich  coloring,  and  a  strong  ren- 
dering of  personality.  His  sense  of  the  artistic  is  persistent,  and  serves 
him  on  all  occasions.  That  is  why  his  pictures  are  so  completely 
in  harmony. 

The  studio  reflects  the  artist ;  it  is  his  home.  "The  Gables,"  Mr. 
Richards'  studio,  a  unique  spot,  has  been  fitted  up  to  meet  the  needs  of 
an  artist.    Mrs.  Richards  has  done  her  part  in  the  transformation.    Her 


A  Handbook  of  Utah  Art.  81 

touch  is  evident  in  the  repose  and  air  of  comfort  and  home  feeling  that 
pervades  the  studio.  It  is  altogether  a  revelation  of  good  taste,  which 
is  nothing  but  art  under  another  name. 

LOYALTY  TO  THE  DESERT. 

Those  who  love  art  rejoice  that  such  artists  as  Lee  Greene  Rich- 
ards have  remained  loyal  to  their  homes,  and  have  returned  to  their 
native  soil.  We  know  that  far  greater  opportunities  wait  in  the 
art  centers,  and  that  they  sacrifice  much  when  they  leave  them.  But 
the  soil  from  which  men  spring  clings  to  them.  The  traditions  of  par- 
ents weave  themselves  into  the  hearts  of  the  children,  and  when  mem- 
ory stirs  those  golden  threads,  the  wanderer  is  drawn  homeward.  Our 
artists  love  the  desert,  and  the  desert  does  not  spurn  them.  They  have 
brought  credit  to  the  people  in  these  mountain  tops  as  well  as  to 
themselves.  They  are  artists,  with  rare  talents,  and  possessed  of  nobil- 
ity of  character  and  honor.  They  have  been  true  to  us;  we  want  to 
sustain  them.  Emerson  prophesied  long  ago  that  the  art  of  America 
would  rise  in  the  West  amidst  the  feet  of  a  brave  and  earnest  people. 
Did  he  mean  that  our  artists  must  rely  upon  the  great  producing  class 
for  patronage?  Yes;  for  these  are  they  that  must  be  unto  the  true 
artists  of  Utah  the  great  Medici ! 


POPE.    PORTRAIT  BUST  OF  L.  G.  RICHARDS.       Paris  Salon. 


82 


Devotees  and  their  Shrines 


ALMA  B.  WRIGHT. 

Alma  B.  Wright's  most  important  work  was  made  possible 
through  the  efforts  of  the  board  of  trustees'  of  the  L.  D.  S.  university. 
They  gave  \\>ight  the  commission  for  a  mural  decoration  for  Barratt 
hall,  financing  the  scheme  personally.  This  is  an  example  of  art  for 
art's  sake.  Mural  painting  offers  the  best  field  for  art  training  and 
development  for  the  masses.  Wall  decoration  for  the  public  school, 
house  of  worship,  state  or  municipal  building  and  for  a  certain  type 
of  business  block,  must  come  to  every  community  where  appreciation 
for  art  grows.  A  visit  to  Barratt  hall  will  convince  even  the  layman 
of  the  beauty  and  appropriateness  of  this  form  of  art  for  the  public 
building. 


A  Handbook  of  Utah  Art.  ,  83 

Wright's  mural  painting  is  presented  in  two  panels  illustrating  co- 
education. The  first  panel  symbolizes  the  hope  of  the  nation  and  rep- 
resents a  youth  and  maiden  in  classic  dress  drinking  at  the  fountain  of 
knowledge.  The  second,  typifying  the  strength  of  the  nation,  pictures 
a  man  and  woman  hand  in  hand,  walking  forward  through  a  field  of 
flowers.  The  legend  of  the  first  panel  reads,  *'Art,  Science,  ReHgion" 
— the  elements  of  the  source  of  the  fountain  of  knowledge.  The  second 
panel  bears  the  legend,  "Integrity,  Service,  Fidelity," — the  essentials 
for  strength  of  a  nation. 

The  whole  scheme  is  painted  in  a  high  key,  in  buoyant  vein.  The 
decorative  handling  of  lines,  harmony  of  color,  conception  of  design, 
rythm  of  lines,  together  with  a  pervading  atmosphere  of  vivacity,  car- 
ries a  cheering  and  stimulating  influence. 

This  mural  decoration  may  be  commended  to  the  trustees  of  other 
institutions.  The  University  of  Utah  has  a  new  administration  build- 
ing. There  are  high  schools  and  chapels.  Our  capitol  building  is 
nearing  completion.  It  is  not  enough  that  our  state  spends  millions  of 
dollars  in  the  erection  of  a  capitol  building.  The  embellishments  for 
its  walls  must  also  be  considered.  We  have  made  elTective  pleas  for 
home  materials ;  we  insist  on  home  talent.  We  have  adequate  materials 
for  great  buildings  and  we  have  equally  great  talent  for  decorative 
art.  No  commercial  decoration  should  be  allowed  place  in  that  splen- 
did building! 

A.  B.  Wright  is  art  instructor  in  the  L.  D.  S.  university,  portrait 
painter  and  landscapist.  He  is  a  tremendous  worker.  His  ideal 
reaches  out  toward  form  rather  than  toward  tonal  qualities.  He  has 
analyzed  the  principles  of  art  and  has  arrived  at  definite  conclusions  by 
which  he  measures  his  work,  rather  than  depending  wholly  on  his  own 
individual  taste.  From  his  "Boxer"  we  discover  his  thorough  stud) 
of  anatomy  and  profound  interest  in  structural  drawing.  He  has 
greatest  admiration  for  Michael  Angelo,  the  most  wonderful  exponent 
of  form. 

He  first  won  success  abroad.  In  Paris  at  the  Salon  of  1913  he 
exhibited  a  portrait  of  Mrs.  Mary  J.  Richards.  His  portrait  of  Mary 
Young  followed  in  1914.  The  same  year  he  was  accepted  in  the  St. 
Louis  exposition  with  an  interesting  portrait  of  his  wife,  who  was  with 
him  in  Paris.  This  oil  portrait  was  a  strong  example  of  tonal  paint- 
ing, full  of  feeling.  It  portrayed  Mrs.  Wright's  personality  without 
depending  upon  commonplace  likeness  drawing.  "Blanche,"  which 
appears  on  the  opposite  page,  won  him  the  annual  state  prize  in  1904 
and  in  1905  he  took  the  state  medal  of  honor. 

Speaking  of  his  life's  work  he  says,  "The  portrait  is  to  me  a 
psychological  rendering  of  personality.     While  I  think  a  great  deal  of 


84 


Devotees  and  their  Shrines. 


the  material  existence  of  things  I  feel  that  materiality  is  only  a  means 
to  a  higher  end — the  spiritual  significance  of  the  sitter." 

Mr.  Wright  is  an  athlete  and  an  adept  at  sword  play.  He  has 
won  the  inter-mountain  championship  for  fencing  and  has  successfully 
defended  it  since  1897. 

Like  all  the  other  really  strong  Utah  artists,  Wright  is  clean  and 
upright  in  his  life  and  habits,  sincere  in  his  work,  self-sacrificing  for 
the  sake  of  his  calling,  thoughtful  and  helpful  to  students  and  lovers 
of  the  beautiful. 


ii  >  tic 


-  > 


y 


^\-\ 


KuY  J:  ^^[ 


a:c^c- 


:!■! 


A  Handbook  of  Utah  Art. 


85 


WK\ 

-  ^ 

4 

L^                ..4M    L^'  ii   ^m  .^B 

Unveiling  of  the  Monument  to  the  Sea  Gulls.     M.  M.  Young  and  a  row 
of  veteran  locust  fighters. 


MAHONRI  M.  YOUNG. 

M.  M.  Young,  known  to  his  friends  as  "Hon,"  has  found  the 
human  pulse  of  the  people;  he  has  idealized  the  sentiments  of  the 
Western  people.  "Their  life,"  he  says,  "their  migrations  and  suffer- 
ings, have  always  appealed  to  my  imagination,  and  they  embody  an 
infinite  number  of  artistic  themes." 

Mr.  Young  is  peculiarly  forced  into  sculpture  rather  than  paint- 
ing. While  his  painting  is  a  success,  his  talents  are  all  of  tremendous 
value  to  one  who  "sculps."  The  water  colors  that  he  paints  are  charm- 
ing, but  their  quality  is  not  in  color  nor  tonal  qualities,  they  are  treated 
more  as  drawings. 

The  great  quality  of  his  water  colors,  and  for  that  matter,  his  oils, 
too,  is  the  animation,  the  movement,  the  vibration  of  life.  He  ex- 
presses no  doubt,  no  fear,  and  there  is  love  in  every  line.  His  selection 
is  always  good.  He  generally  has  a  great  many  figures  in  his  pictures 
which  are  suggestive  of  life.  These  pictures  are  always  well  drawn 
and  well  composed,  but  in  every  touch  there  is  a  strong  feeling  for 
form.  So,  though  he  loves  paint  and  brush,  destiny  has  sealed  his  fate, 
he  will  win  fame  by  the  use  of  his  thumb. 

The  thumb !  That  instrument  of  marvel — the  sculptor's  best  tool. 
That  organ  by  which  the  Omnipotent  ordained  man  to  be  above  all 
other  creatures  of  the  earth.  By  its  use  man  creates  beauty,  plenty, 
convenience.  No  tool  of  manufacture  can  approach  the  hand,  with  its 
wonderful  thumb  in  the  perfection  and  delicacy  of  its  work,  nor  in  its 
multiplicity  of  uses.     Foremost  educators  are  beginning  to  learn  that 


86 


Dczotccs  and  their  Shrines. 


M.   M.   VOUNG.     PLOWING.     SEA  GULL  MONUMENT. 


the  highest  training  for  power  that  the  child  can  receive  is  through  the 
intellectual  use  of  the  thumb. 

Mr.  Young's  best  gift  is  his  openness  to  quick  inspiration.  His 
conception  is  strong.  His  power  to  see  a  thing  as  a  whole  in  a 
flash  enables  him  to  keep  his  work  simple,  harmonious,  and  undivided 
in  purpose.  It  has  the  quality  of  inspiration  and  feeling,  rather  than 
of  study  and  labor.  Study  and  labor  are  necessary,  but  should 
never  be  apparent.  It  is  enough  that  the  artist  toils  and  sweats.  It 
should  look  when  finished  a  simple  thing.  We  cannot  forgive  the 
artist  who  makes  labored  things.  We  will  borrow  no  trouble  from 
him.  He  must  do  the  work  and  leave  us  the  repose  or  we  will  cast 
him  into  the  rubbish  heap,  with  the  other  millions  of  mistakes. 


A  Handbook  of  Utah  Art. 


87 


YOUNG.      DELIVERANCE.      SEA   GULL   MONUMENT. 


Though  Mr.  Young's  first  impulse  comes  Hke  a  revelation,  he  is 
willing  to  spend  years  if  necessary  to  work  out  his  conception,  but  some 
of  his  best  things  are  done  at  white  heat  and  are  accomplished  within 
a  few  days.  This  of  course  is  where  neither  material  nor  time  push 
themselves  between  him  and  his  inspiration. 

The  bronze  bust  of  Brigham  H.  Roberts  is  a  searching  portrait. 
Mr.  Roberts  lends  himself  admirably  to  the  needs  of  the  sculptor:  in 
character  and  personality  he  is  intensely  unique.  In  some  respects  he 
suggests  the  Gladstone  head.  The  modeling  of  the  muscles  of  his 
whole  head  is  very  decided,  in  fact,  the  head  is  modeled  all  over. 

In  this  production  the  artist  has  surpassed  himself.  It  is  a  work 
that  will  bring  great  criticism  from  a  large  class  of  the  public,  because 


88 


Devotees  and  their  Shrines. 


VOUNG.  HARVE:5ii;\0.  SEA  GULL  MONUMENT. 

there  is  not  a  note  of  the  commonplace  in  it.  Shakespeare  like,  he  has 
made  no  effort  to  give  a  one  sided  story,  so,  in  this  piece  of  bronze, 
behold  Roberts  with  his  weaknesses  as  well  as  his  virtues.  You  are 
made  to  feel  his  combativeness,  and  ruggedness,  as  well  as  his  sensi- 
tiveness, his  intellectuality,  and  his  gentleness.  Then,  too,  take  note 
of  the  physical  strength,  the  mental  endurance,  the  stubborn  touch  that 
does  not  hide  the  general  feeling  of  geniality.  The  dash  of  selfishness 
and  the  burst  of  generosity  are  as  apparent  as  his  spirituality.  Mr. 
Young  has  sculped  the  "Blacksmith  orator"  with  bold,  but  loving 
hands,  for  in  each  rugged  feature  some  sweet  refinement  is  disclosed, 
while  the  human  struggle  is  always  manifest  in  no  less  a  degree  than 
the  quality  of  statesmanship. 


A  Handbook  of  Utah  Art. 


89 


YOUNG.     HIS  WIFE.     CELIA  SHARP  YOUNG. 


Mr.  Young's  wife,  a  fine  musician,  admirably  fits  into  the  art  life. 
The  artist  reveals  his  devotion  for  her  in  a  bust,  the  first  from  life  that 
came  from  his  hands — a  type  of  beauty,  spirituality  and  grace. 

Lambourne  in  clay  is  like  a  burst  of  inspiration,  and  shows  the 
giant  struggle  of  mentality  in  the  subjection  of  materiality.  The  on- 
looker catches  an  inspirational  thought  of  the  superiority  of  divine 
gifts,  and  also  the  power  that  comes  out  of  the  struggle  to  use  the 
talent. 


90  Devotees  and  their  Shrines. 

Mr.  Young  says:  *'I  have  received  greatest  inspiration  in  my 
conception  of  sculpture  from  Donatello  and  Paulialo,  who  were  of  the 
Italian  Renaissance,  and  were  the  forerunners  of  Michael  Angelo. 
Houdon,  the  Frenchman,  so  successfully  modeled  Washington,  Vol- 
taire and  Franklin,  that  I  look  upon  him  as  the  forerunner  of  modern 
sculpture.  The  work  of  the  great  German,  Adolph  Hildebrande, 
Rodin,  George  Minnae,  and  Maillol,  are  the  modern  men  I  greatly  ad- 
mire. Dr.  Rimmer  was  one  of  our  greatest  sculptors.  Olin  Warner 
I  look  upon  as  the  greatest  American  sculptor. 

Mr.  Young  has  secured  all  of  the  prizes  to  be  awarded  in  the  State, 
and  has  taken  honors  away  from  home.  By  special  invitation  he  has 
exhibited  in  the  Pennsylvania  Academy  of  Design,  Philadelphia,  and 
the  National  Academy  of  Design,  New  York,  and  in  the  Chicago  Art 
Institute.  He  sold  the  American  painter,  Chase,  a  water  color  and  was 
recognized  in  three  Salons  in  Paris  in  various  ways  with  models  in 
clay,  pastels  or  drawings,  but  so  far,  his  most  important  works  are  his 
commissions  for  the  Church. 

An  interesting  fact  remains  to  be  told.  After  "Hon's"  return  he 
was  many,  many  months  without  a  patron  or  an  order,  but  he  went  on 
drawing,  painting,  and  sculping.  Finally,  when  patience  was  nearly 
threadbare,  H.  J.  Faust,  Jr.,  gave  the  young  man  his  first  commission, 
to  model  a  woman  in  butter,  for  the  state  fair. 

The  butter  woman  made  a  sensation,  and  as  she  slowly  melted  the 
public,  too,  thawed  out.     After  that  more  important  orders  came. 

By  B.  H.  Roberts. 

Because  in  their  exposed  and  helpless  infancy  the  She  Wolf  suckled 
the  twin  founders  of  Rome,  the  She  Wolf  was  honored  in  Rome's 
history  and  niched  among  the  statuary  of  the  capitol.  Because  geese 
awakened  the  Roman  guard  by  their  cackling  in  time  to  repel  a  night 
attack  upon  the  citadel,  during  one  of  the  early  Gallic  invasions,  and 
thus  saved  the  capitol,  geese,  though  void  of  beauty  and  usually  re- 
garded as  the  symbol  of  folly  and  silliness,  became  doubly  sacred  to  the 
Romans :  first  as  being  the  favorite  fowl  of  Juno,  Rome's  domestic 
Deity,  and  second,  as  now — after  the  citadel  incident — having  saved 
the  capitol. 

Utah's  history  includes  an  incident  much  more  beautiful  than 
either  of  these  related  of  Rome ;  one  which  occurred  at  quite  as  crucial 
a  period  in  her  history,  and  one  wholly  removed  from  the  realm  of 
leeend  to  that  of  well  attested  fact.  This  is  the  Sea  Gull  incident  of 
our  early  pioneer  days. 

It  was  the  spring  of  1848.       Following  the  advent  of  the  first 


A  Handbook  of  Utah  Art.  91 

Pioneers  of  1847,  a  number  of  companies  arrived  making  the  popula- 
tion of  the  Salt  Lake  valley  over  sixteen  hundred  souls,  and  many  more 
compnaies  were  enroute  over  the  plains  west  of  the  Missouri.  Four 
hundred  and  twenty-three  houses  had  been  built,  more  than  five  thous- 
and acres  of  land  had  been  plowed,  eight  hundred  and  seventy-five 
acres  of  winter  wheat  had  been  sown.  Spring  broke  early  and  soon 
the  wheat  crop  put  forth  its  tender  leaves.  It  was  a  sight  that  blessed 
the  eyes  of  the  anxious  farmers.  This  planting  had  been  an  experi- 
ment. So  far  it  promised  well.  If  this  crop  matured  there  would  be 
food  produced  from  the  valley  soil  before  the  supplies  the  pioneers  had 
brought  with  them  would  be  exhausted — there  would  be  bread  in  Israel 
for  a  year  to  come.  If  it  failed — what  else  but  frightful  calamity?  A 
thousand  miles  from  food  supplies,  which  means  a  thousand  miles  from 
cultivated  lands;  and  there  was  no  sympathy  for  our  pioneers  in  the 
western  frontier  states  that  would  prompt  extraordinary  efforts  to 
reach  them  in  starvation  emergency.  Their  own  means  of  transport- 
ing food  supplies  across  the  plains  were  utterly  inadequate  and  imprac- 
ticable. Fish  and  wild  game?  Almost  utterly  negligible  as  a  source 
of  food  supply  for  those  now  in  the  valley,  to  say  nothing  of  as  many 
more  enroute. 

This  early,  spring-sprouting  wheat  crop  must  not  fail !  So  doubt- 
less thought  the  pioneers  of  our  state.  March  passes,  and  April.  May 
comes  and  the  rich  virgin  soil  under  cultivation  gives  the  wheat  plant 
a  strong  and  healthy  growth.  Its  color  is  rich.  The  pioneer  farmers 
note  that  it  stools  well,  and  the  crop  will  be  a  heavy  one,  barring  early 
or  late  frosts,  for  drought  is  practically  overcome  by  the  happy  thought 
of  irrigation.  But  before  May  passes  an  unlooked  for  foe  makes  his 
appearance,  and  from  an  unexpected  quarter.  Thousands  of  ugly, 
black  crickets  come  from  the  surrounding  hills  and  descend  upon  the 
new-made  fields.  They  devour  all  before  them.  Their  appetite  seems 
never  abated.  They  cut  and  grind  night  and  day,  leaving  the  fields 
bare  and  brown  behind  them.  There  seemed  to  be  no  end  to  their  num- 
bers. They  could  not  fly,  their  only  means  of  locomotion  was  by 
clumsily  hopping  a  scant  foot  at  a  time — hence,  once  in  the  fields,  the 
difficulty  of  getting  them  out;  and  they  came  in  myriads,  increasing 
daily.  Holes  were  dug  and  maybe  for  the  radius  of  a  rod  the  pests 
were  surrounded  by  women  and  children,  and  driven  into  the  hole  and 
buried — bushels  of  them  at  a  time :  and  this  was  repeated  again  and 
as:ain;  but  what  was  the  use?  This  method  seemed  not  to  affect  the 
'numbers  of  the  crickets. 

Then  the  men  plowed  ditches  around  the  wheat  fields  and  through 
them,  turned  in  the  water  and  drove  the  black  vermin  into  the  running 
streams  and  thus  carried  them  from  the  fields  and  destroyed  them  by 


M.  M.  YOUNG.     B.  H.  ROBERTS. 


A  Handbook  of  Utah  Art.  93 

the  tens  of  thousands — all  to  little  or  no  purpose;  as  many  as  ever 
seemed  to  remain  and  more  were  daily  swarming  from  the  hills.  Fire 
was  tried,  but  to  no  better  purpose.  Man  and  man's  ingenuity  was 
baffled.  He  might  as  well  try  to  sweep  back  the  rising  tide  of  the 
ocean  with  a  broom  as  prevail  against  these  swarming  pests  by  the 
methods  tried.  Insignificant,  these  inch  or  inch  and  a  half  long  insects 
separately,  but  in  millions  terrible! 

The  incident  illustrates  the  formidableness  of  mere  numbers. 
Since  the  days  of  Egypt's  curse  of  locusts  there  was  probably  nothing 
like  it.  The  failure  to  destroy  these  pests  spelled  famine  to  these  first 
settlers  of  Salt  Lake  valley.  It  meant  starvation  to  the  companies  of 
women  and  children  then  enroute  across  the  plains.  Small  wonder  if 
their  hearts  failed  them.  They  looked  at  each  other  in  helpless  aston- 
ishment. They  were  beaten.  That  is  something  awful  for  strong  men 
to  admit,  especially  when  beaten  by  units  so  insignificant.  One  resents 
defeat  by  merely  overwhelming  numbers.  Meantime  the  ceaseless 
gnawing  of  the  ruthless  and  insatiable  invaders  went  on.  The  brown 
patches  of  the  wheat  fields  grew  larger.  Soon  all  would  be  bare  and 
brown,  and  hope  of  food  and  life  would  have  disappeared  with  the 
recently  green  wheat  fields. 

Then  the  miraculous  happened.  I  say  it  deliberately,  and  I  am  a 
man  of  the  twentieth  century.  The  miraculous,  I  say,  happened,  as 
men  commonly  view  the  miraculous.  "We  do  not  believe  in  miracles 
now,"  say  the  men  of  our  times,  "we  explain  them."  Good.  Then 
explain  this:  There  was  heard  the  shrill  half  scream,  half  plaintive 
cry  of  some  Sea  Gulls,  hovering  over  the  pioneers'  wheat  fields.  Pres- 
ently they  light  and  begin  devouring  the  crickets.  Others  come — 
thousands  of  them — from  over  the  lake.  The  upper  feathers  of  the 
Gull's  wing  are  tinted  with  a  delicate  gray  and  some  of  the  flight 
feathers,  primaries,  to  be  exact,  are  marked  with  black,  but  the  pre- 
vailing color  is  white.  And  as  they  came  upon  the  new  wheat  fields, 
stretched  upward  and  then  gracefully  folded  their  wings  and  began 
devouring  the  devourers,  to  the  cricket-vexed  pioneers  they  seemed,  I 
doubt  not,  like  white  winked  angels  of  deliverance.  They  were  tireless 
in  their  destructive — nay,  their  saving  work.  It  was  noted  that  when 
they  were  glutted  with  devouring  crickets  they  would  go  to  the  streams, 
drink,  vomit,  and  return  again  to  the  slaughter.  And  so  it  continued, 
day  after  day,  until  the  plague  was  stayed  and  the  crops  of  the  pioneers 
saved.     A  fairly  good  harvest  was  reaped  that  year. 

This  is  the  heart-touching  incident  which  M.  M.  Young  has  com- 
memorated in  his  splendid  Sea  Gull  monument,  which  now  adorns 
Temple  Square. 


94  Devotees  and  their  Shrines. 


DONALD  BEAUREGARD. 


"Nature  contains  the  elements,  in  color  and  form,  of  all  pictures, 
as  the  keyboard  contains  the  notes  of  all  music.     ****** 

The  artist  is  born  to  pick,  and  choose,  and  group  with  science  these 
elements,  that  the  result  may  be  beautiful — as  the  musician  gathers  his 
notes,  and  forms  his  chords,  until  he  bring  forth  from  chaos  glorious 
harmony." 

Not  since  George  M.  Ottinger  painted  his  Capeca  de  Paca  has  so 
sincere  a  rendition  of  the  desert  appeared  as  Donald  Beauregard's 
"Over  the  Mesas."  This  was  exhibited  simultaneously  at  the  Utah  Art 
Institute,  Vermont  building,  with  three  other  beautiful  pictures  from  his 
brush.  This  work  brought  him  the  annual  prize  and  established  his 
standing  among  our  best  painters.  Donald  Beauregard  is  the  son  of 
N.  J.  Beauregard,  of  Fillmore,  Utah,  and  was  born  in  1885.  He  is 
strong  in  conception.  He  understands  the  principle  of  domination  and 
elimination — that  one  idea  should  dominate  and  all  that  tends  to 
strengthen  that  idea  may  be  introduced  but  detail  attracting  attention 
from  that  idea  must  be  left  out.  Detail  may  tickle  the  eye,  but  it  is  a 
matter  of  persistent  effort  not  conception.  Mr.  Beauregard's  best 
quality  is  a  big  broad  treatment,  and  though  he  is  enthusiastic  over 
color,  he  does  not  appeal  to  the  vulgar  taste.  Others  may  become 
vague  in  seeking  to  secure  tonal  qualities.  He  does  not  deal  in  vagaries 
but  handles  his  color  in  a  bold  broad  way.  His  pictures  have  the  spirit 
of  spontaneity  and  frankness.  Only  the  highest  minds  can  think  and 
produce  harmony.  A  rose  is  beautiful  for  its  color  and  form,  but  if  in 
the  rose  you  see  only  color  and  form,  if  God's  touch  is  hidden,  the  more 
subtle  harmonies  must  be  lost.  With  "Over  the  Mesas  and  Cliffs  near 
St.  George"  the  thought  grows  that  the  painter  has  the  power  to  look 
deeper  than  material  things.  They  reveal  an  understanding  of  the 
desert. 

Since  the  foregoing  was  written  has  come  the  disheartening  word 
of  Donald  Beauregard's  death.  He  was  working  on  a  series  of  mural 
decorations  for  the  1915  California  exposition  at  San  Diego.  These 
decorations  were  to  be  a  permanent  exhibit  in  that  city.  Beauregard  had 
undertaken  to  illustrate  allegorically  the  development  of  the  white  race 
on  the  American  continent,  taking  St.  Francis,  patron  saint  of  the 
Southwest,  his  life,  traditions  and  conquest  of  that  great  region,  as  the 
theme  for  this  series  of  pictures.  Beauregard  recognized  this  as  his 
opportunity  to  make  a  name  for  himself  and  to  bring  credit  to  his 
native  state.  After  his  return  from  the  archeological  expedition  with 
Dean  Cummings  he  went  to  San  Diego,  to  familiarize  himself  with 


A  Handbook  of  Utah  Art. 


95 


conditions  there,  after  which  he  went  to  Washington  and  delved  into 
the  libraries,  posting  himself  on  the  early  Spanish  invasion.  He  then 
journeyed  to  Spain  to  study  his  subject  from  the  Old  World  stand- 
point. To  refresh  and  strengthen  his  drawing  he  returned  to  the 
Paris  studio.  Here  he  won  prizes  for  drawing  and  color  exhibited 
in  the  Salon  and  sold  much  of  his  work  to  both  Americans  and  French- 
men. 

He  now  felt  prepared  to  undertake  the  composition  for  the  mural 
decoration  for  which  he  had  been  given  the  commission.  In  Paris  he 
found  suitable  models  for  the  figures  and  with  enthusiasm  he  went  to 
work  painting  his  final  studies.  Dr.  Hewett,  who  had  financially 
backed  the  scheme,  went  to  Paris  and  made  final  acceptance  of  Beaure- 
gard's studies.  Dr.  Springer  was  also  deeply  interested.  Everything 
seemed  propitious  for  an  unusual  work  of  art.  The  panels  were  to  be 
ten  by  twelve  feet  in  size. 

Beauregard's  health  began  to  break  down  but  he  sent  no  word  in 
respect  to  that.  He  had  time  only  for  work.  Returning  to  America 
a  few.  weeks  ago,  he  went  directly  to  San  Diego,  laboring  desperately 
to  complete  his  commission.  He  made  a  heroic  race  with  death,  but 
lost.  Before  he  died,  at  his  old  home  in  Filhnore,  he  told  his  mother 
that  only  a  few  strokes  would  have  been  needed  to  complete  the  first 
panel  of  his  great  work.     He  painted  until  he  fell  from  the  ladder. 


DALLIN.     SOLDIERS  AND  SAILORS  MONUMENT. 


96  Devotees  and  their  Shrines. 


C.  E.  DALLIN. 


Cyrus  Edwin  Dallin  was  modeling  with  the  clay  in  the  road  until 
he  grew  to  be  quite  a  lad.  He  attracted  the  attention  of  several  men 
who  afterward  proved  their  friendship.  His  fame  traveled  from  his 
home  in  Tintic  to  Salt  Lake,  where  his  work  was  shown  at  the  state 
fair  in  1879.  Mr.  C.  H.  Blanchard  of  Boston  knew  the  sculptor 
Bartlett  and  wrote  to  him  of  the  wonderful  gift  of  a  miner's  boy. 
Bartlett  replied,  "Send  him  along  and  we  will  soon  see  what  he  is 
made  of."     Blanchard  sent  him. 

Dallin  was  barely  nineteen  but  his  modeling  was  so  clever  that  his 
Utah  friends  saw  no  reason  why  he  should  not  begin  at  once  taking 
orders  for  sculpture.  They  had  not  learned  that  it  takes  years  of 
arduous  study,  of  patient,  constant  worshipful  effort  before  one  safely 
passes  the  danger  shoals  and  sandbars  of  the  would-be-artist  and 
reaches  the  harbor  of  art  success.  Dallin  remained  four  years  in  Bos- 
ton, studying  hard  and  enjoying  his  wonderful  opportunities.  He  first 
entered  the  studio  of  Truman  H.  Bartlett  on  Federal  street,  Boston. 
Next  spring  he  was  in  the  terra  cotta  works,  and  1881  found  him  with 
Sculptor  Sidney  H.  Morse.  The  year  1882  was  spent  in  Charlestown 
and  the  fall  of  1882  found  him  in  a  studio  of  his  own  in  Pemberton 
Square,  Boston. 

The  winter  of  1887-8  was  devoted  to  "The  Indian  Hunter,"  which 
brought  the  sculptor  the  gold  medal  in  an  exhibition  in  New  York  in 
May  of  1888.  This  was  voted  by  the  artists  themselves.  The  follow- 
ing August,  and  only  two  weeks  later  than  Harwood,  he  set  foot  in 
Paris  and  entered  the  Julian  academy. 

IN  PARIS. 

Henri  Michel  Chapu  who  modeled  the  charming  Joan  of  Arc  that 
is  to  be  seen  at  the  Chicago  Art  Institute  was  his  teacher.  Augustus 
St.  Gaudens  was  his  friend  and  visited  him  while  he  worked  on  his 
General  Sherman. 

Dallin  was  asked  by  Dr.  Evans  of  America  to  make  a  model  for  a 
statue  of  Lafayette.  This  was  satisfactory  and  was  executed  in  bronze 
and  later  presented  to  France  by  the  American  people.  This  statue  was 
shown  in  the  great  Exposition  of  1889.  In  1890,  Dallin  got  in  the 
Salon  at  Paris,  with  his  famous  "Signal  of  Peace,"  which  won  there  an 
honorable  mention.  This  was  sent  to  Chicago  to  the  World's  Fair, 
where  it  won  a  medal  and  diploma ;  and  it  did  not  end  there,  for  Judge 
Lambert  Tree  bought  it  and  presented  it  to  the  city  of  Chicago  as  a 
memorial  to  the  American  Indian.  It  was  unveiled  in  Lincoln  Park  in 
June,  1894.     This  was  a  proud  event  for  Utahns. 


A  Handbook  of  Utah  Art. 


97 


IJALLIN.     PORTRAIT  OF  HIS  SON. 


Dallin  in  the  meantime  had  returned  to  Boston  in  1890,  and  was 
offered  important  commissions  by  a  gentleman  from  Utah.  He  now 
thought  his  financial  success  assured  and  married  Vittoria  Colonna 
Murray,  of  Boston,  and  brought  his  bride  with  him  to  Utah.  It  was 
with  surprise  that  Dallin  discovered  that  his  commissions  had  been 
given  by  a  man  with  more  enthusiasm  than  discretion,  and  that  they 
were  only  roseate  bubbles.  He  was  not  without  friends  and  apprecia- 
tion,  however.     He  secured  the  commission   for  the  bronze  gilded 


98  Devotees  and  their  Shrines. 

figure  of  Moroni  on  the  highest  tower  of  Salt  Lake  Temple.  This 
beautiful  figure  is  one  of  his  most  charming  works.  The  artist  was 
given  carte  blanche  as  to  design,  and  the  work  shows  grace,  power, 
freedom,  and  refinement.  The  monument  to  Brigham  Young  and  the 
Pioneers  of  1847  is  not  so  good.  Dallin  was  terribly  interfered  with 
and  in  order  to  compromise  his  ideas  with  those  who  had  the  power  to 
dictate  he  was  forced  to  sacrifice  art.  No  one  is  so  sure  of  his  own 
good  taste  and  judgment  on  art  matters  and  no  one  is  so  sure  that  his 
ideas  are  better  than  the  artist's  as  the  man  who  totally  lacks  knowledge 
and  feeling  for  art.  If  you  want  a  roasting  criticism  on  a  good  work 
of  art  find  a  person  who  has  no. knowledge  of  these  things  and  he  will 
give  you  ample  satisfaction.  If  you  would  have  carrots  judged  in  a 
vegetable  show  you  do  not  select  a  sausage  grinder  to  award  the  prize, 
and  it  would  be  as  foolish  to  take  a  book  worker  or  a  real  estate  agent. 
Why  will  we  rob  the  artist  of  his  finest  tool — artistic  conception? 

Eighteen  hundred  and  ninety-five  found  Dallin  in  Philadelphia  as 
instructor  in  modeling  at  the  Drexel  Institute.  At  this  time  he  did  his 
statue  of  Sir  Isaac  Newton  for  the  rotunda  of  the  Library  of  Congress 
in  Washington.  It  is  considered  an  excellent  portrait.  The  artist 
made  a  close  study  of  the  death  mask  and  a  bust  and  portrait  that  are 
preserved  of  Sir  Isaac  Newton. 

Dallin  next  went  to  Paris  for  three  more  years  and  was  in  the  three 
successive  spring  Salons  with  ^'Apollo  and  Hyacinthus"  in  plaster,  a 
bronze  equestrian  statuette  of  ''Don  Quixote"  and  the  "Medicine  Man." 

William  Howe  Downes,  writing  of  Dallin  in  "Brush  and  Pencil," 
1899,  said:  "Don  Quixote  is  the  artist's  best  work  up  to  the  present 
time.  It  is  conceived  in  an  absolutely  ideal  spirit  and  is  enveloped  in 
an  atmosphere  of  romance  which  is  completely  in  harmony  with  that 
of  Cervantes.  The  character  of  Don  Quixote,  moreover,  is  taken 
seriously  and  with  a  proper  appreciation  of  its  intrinsic  nobility  and 
pathos." 

The  "Medicine  Man"  was  expressly  planned  for  the  great  Interna- 
tional Exhibition  in  Paris,  1900.  It  brought  Dallin  fame.  The  group 
in  bronze  was  placed  at  the  end  of  the  Alexander  Bridge  near  the  Petit 
Pallais — than  which  no  more  beautiful  spot  can  be  found  in  Paris. 
Now  praise  came  to  our  sculptor  from  the  continent,  and  from  America 
something  else  followed.  The  Fairmount  Park  Association  of  Phila- 
delphia, a  group  of  art  critics,  bought  the  "Medicine  Man"  for  their 
park  in  Philadelphia.  Close  on  the  heels  of  this  came  an  offer  from 
Vienna,  Austria,  for  the  park  there.  This  was  the  first  time  an  Amer- 
ican ever  received  an  offer  for  statuary  from  Europeans.  Dallin  would 
gladly  have  duplicated  his  first  sale  but  of  course  they  would  not  con- 


DALLIN.      SIOUX  CHIEF. 
Gold  Medal^  1904,  St.  Louis  Exposition. 


100  Devotees  and  their  Shrines. 

sider  buying  anything  but  the  original  work.  At  this  hour  of  triumph 
a  third  son  was  born  in  Paris  to  Mr.  and  Mrs.  DalHn. 

Since  that  time  the  "Appeal  to  the  Great  Spirit"  has  brought  him 
a  gold  medal.  At  Syracuse,  New  York,  is  a  monument  to  the 
Soldiers  and  Sailors  of  the  Revolution.  The  unveiling  occurred  with 
great  ceremony  and  with  more  laurels  for  Dallin.  He  did  all  the  work 
for  this  monument  in  America,  but  went  to  Paris  to  have  it  bronzed, 
as  the  cost  is  less  and  the  work  is  more  satisfactory. 

Mr.  Dallin  has  won  honors  far  ahead  of  any  other  Utah  artist. 
He  is  loyal  to  his  place  of  birth,  and  we  of  Utah  do  not  forget  him. 
His  talent  is  of  a  high  order.  He  is  genuine,  and  is  extremely  refined 
in  spirit  and  feeling.  Native  art  gifts  and  intellectual  powers,  together 
with  hard  work,  a  spotless  moral  character  and  a  life  as  open  as  a  book, 
have  made  him  successful.  Such  men  are  not  to  be  passed  by,  at  least 
not  for  long,  they  eventually  reach  the  high  places. 

MYRA  SAWYER. 

Myra  Sawyer  recently  returned  from  six  and  a  half  years  spent 
in  art  study  abroad.  Aside  from  the  regular  studio  work,  she  spent  a 
summer  in  Spain,  copying  from  the  great  master,  Velasquez.  A  win- 
ter was  passed  in  Italy  and  a  season  in  Holland  (without  which  study 
abroad  would  be  incomplete). 

The  most  delightful  of  her  sketching  seasons  was  in  Giverney, 
France,  the  home  of  Claude  Monet,  the  painter  of  exquisitely  delicate 
harmonies.  Miss  Sawyer  and  Rose  Hartwell  lived  in  daily  view  of 
the  artist's  picturesque  home.  There  were  color  schemes  and  won- 
derful harmonies  throughout.  The  house  was  painted  rose  pink,  with 
pale  green  shutters.  In  spring  the  flowers  were  all  purple  and  blues; 
in  autumn  there  were  golden  yellows  and  reds.  Monet  and  his  wife 
often  walked  in  the  garden.  The  lady  dressed  in  harmony  with  the 
flowers. 

In  this  influence  of  charming  color  of  flower  and  tree.  Miss  Sawyer 
painted  many  beautiful  sketches,  some  of  which  are  in  the  exhibition  at 
Social  Hall.  A  later  sketching  season  was  spent  near  the  home  of 
Macmonnies,  remembered  for  his  fountain  that  graced  the  Court  of 
Honor  at  the  Columbian  exposition.  Miss  Sawyer  brought  home 
sketches  that  describe  better  than  words  the  delightful  hours  spent 
there  in  painting  out-of-doors. 

Miss  Sawyer  exhibited  in  the  American  Girls'  Club,  Paris,  1910, 
the  "Hostel"  (a  collection  of  sketches  open  to  all  nationalities)  ;  in  the 
American  Society  of  1912,  an  exhibition  of  miniatures,  and  she  had 
two  miniatures  accepted  at  the  Academy  of  Fine  Arts,  Philadelphia. 


A  Handbook  of  Utah  Art,  101. 

By  request  she  also  exhibited  with  the  recent  show  by  the  Water-color 
Society  of  Washington,  D.  C,  in  the  Corcoran  Art  gallery. 

The  miniature,  one  of  the  most  charming-  of  all  kinds  of  portraits, 
especially  for  women  and  children,  is  a  field  in  which  Miss  Sawyer 
excels.  In  fact  all  of  the  foremost  women  artists  of  Utah  are  success- 
ful miniature  painters.  The  miniature  portrait  is  painted  with  oils  on 
ivory.  The  miniature  may  be  used  as  a  brooch  or  small  picture.  It  is 
a  difficult  thing,  requiring  six  weeks  or  more  in  producing. 

Miss  Sawyer  is  especially  adapted  for  teaching.  She  has  been 
successful  in  teaching  art  at  the  U.  of  U.  and  now  holds  a  private  class 
at  Rowland  Hall. 

RECENT  SALON  EXHIBITORS. 

Ralston  Gibbs,  a  grandson  of  Lorenzo  Snow,  has  exhibited  several 
times  at  the  Paris  Salon.  He  is  seen  in  humorous  subjects  which  have 
attracted  attention  and  elicited  comment  because  they  are  quite  different 
from  the  usual  types. 

Girard  Hale,  son  of  a  Utah  architect,  has  also  gotten  in  the  1914 
May  Salon. 

Mrs.  P.  T.  Farnsworth,  Jr.  (Louise  Richards),  daughter  of  Dr. 
Joseph  S.  Richards,  succeeded  in  winning  a  place  with  a  portrait  in  the 
Salon,  1904. 

AVARD  TENNYSON  FAIRBANKS. 

Avard  Tennyson,  tenth  son  and  youngest  child  in  a  family  of 
eleven  children,  was  born  March  2,  1897.  Avard's  mother  died  while 
he  was  a  babe.  To  the  mother  is  due,  no  doubt,  much  of  the  talent  for 
sculpture  of  which  Avard  and  his  elder  brother  J.  Leo  have  given  evi- 
dence. The  child  early  displayed  aptitude  for  sculpture  in  his  father's 
and  brother's  studio.  At  the  age  of  thirteen  his  father  took  him  to 
New  York,  where  he  attended  public  school  and  sketched  from  the 


AVARD  FAIRBANKS.     NATIONAL  ACADEMY. 


102 


Devotees  and  their  Shrines. 


AVARD  FAIRBANKS.     NATIONAL  ACADEMY. 

animals  at  the  Bronx  park.  Avard  by  good  fortune  came  in  contact 
with  the  noblest  specimens  of  wild  animals  at  an  age  when  he  was 
most  impressionable  to  their  power  and  activity  and  they  affected  him 
deeply.  His  evenings  were  spent  in  drawing  from  life  at  the  Art 
Students  League.  He  attracted  attention  wherever  he  worked  and 
before  he  was  fourteen  years  old,  had  exhibited  sculpture  in  the  Na- 
tional Academy  at  New  York  and  at  an  exhibition  in  Buffalo,  and  had 
been  written  of  in  the  International  Studio. 

As  we  go  to  press  word  comes  of  Avard's  success  in  being  ad- 
mitted to  the  1914  French  Salon.  The  work  was  done  in  his  fifteenth 
year.     He  is  the  youngest  artist  ever  admitted. 


J.  LEO  FAIRBANKS. 


J.  B.  FAIRBANKS. 


Artists  of  Varied  Attainments. 

''Rut  when  the  evenino-  niist  clothes  the  riverside  with  poetry,  as 
witli  a  veil,  and  the  poor  buildings  lose  themselves  in  the  dim  sky;  when 
the  tall  chimneys  become  campanili,  and  the  warehouses  are  palaces  in 
the  night ;  when  the  wdiole  city  hangs  in  the  heavens,  and  fairyland  is 
before  us — then  the  wayfarer  hastens  home;  the  workingman  and  the 
cultured  one,  the  wise  man  and  the  one  of  pleasure,  cease  to  under- 
stand, as  they  have  ceased  to  see,  and  Nature,  who  for  once  has  sung 
in  tune,  sings  her  exquisite  song  to  the  artist  alone, — her  son  and  her 
master :  her  son  in  that  he  loves  her,  her  master  in  that  he  knows  lier. — 
Whistler's  ''Ten  oTlock/' 

THE  FAIRBANKSES. 

To  John  B.  Fairbanks,  father  of  J.  Leo  and  Avard,  belongs  the 
credit  of  doubling  the  state  appropriations  for  the  Utah  Art  Institute. 
Through  his  efforts  the  purchasing  fund  was  created.  It  provides 
money  for  original  work  by  Utah  or  non-resident  artists,  or  for  copies 
of  great  pictures.  Mr.  Fairbanks  was  associated  with  John  Hafen  for 
many  years  and  between  them  was  a  bond  of  deep  affection.  Fair- 
banks has  been  well  known  in  art  circles.  In  his  life  he  is  genial,  am- 
bitious and  self  sacrificing.  A  variety  of  themes  appeal  to  his  imagina- 
tion. He  searches  for  evening  effects  or  sunny  harvest  scenes  or  misty 
water  or  tree  subjects.  He  has  made  many  copies  from  famous 
paintings  in  the  galleries  of  both  the  Old  and  New  World.  These  he 
has  painted  to  get  a  closer  analysis  of  a  great  work  and  a  deeper  under- 
standing than  can  be  gained  by  merely  looking  at  a  picture ;  just  as  a 
student  of  literature  takes  a  great  work  and  by  studying  each  line,  word 
and  phrase,  arrives  at  a  clearer  understanding  of  the  methods  and 
spirit  in  w^hich  it  was  written.  The  painter  has  the  additional  advan- 
tage of  a  good  substitute  for  the  oriofiual  when  he  is  forced  to  live  far 
from  the  inspiration  of  the  great  galleries. 

Mr.  Fairbanks  has  never  ceased  studying.  He  began  his  career 
in  the  art  schools  at  Paris.  He  took  an  extended  trip  for  art  study, 
through  Central  America  and  the  Magdalena  valley  in  South  America, 
where  he  secured  sketches  for  many  successful  pictures.  He  has  spent 
much  time  in  American  art  centers,  painting  original  work  and  copving 
famous  pictures.  He  has  exhibited  in  important  American  exhibitions 
and  is  now  in  Paris  working-  with  his  son  Avard. 

While  the  father  went  on  a  sketching  trip  to  South  America, 


104 


Devotees  and  their  Shrines. 


J.  B.  FAIRBANKS.     FIRST  GLIMPSE  Ol^   i  n  r.  V/yLLEY. 

the  eldest  son  J.  Leo,  together  with  his  only  sister,  undertook  the 
bread  winning  for  the  large  family.  He  made  a  success  of  that  and 
laid  by  means  to  start  for  Europe.  When  returning  from  attending 
the  International  Frauenkongress  at  Berlin,  I  visited  Paris  in  order  to 
see  Miss  Lu  Deen  Christensen  of  Gunnison,  Utah,  established  there 
at  an  art  school.  I  met  J.  Leo  Fairbanks  at  that  time.  He  and  ''Hon" 
Young  conducted  me  to  its  most  interesting  shrines  of  art.  Fairbanks 
was  forging  ahead.     During  his  two  years  at  the  Julian  he  won  second 


J.  LEO  FAIRBANKS.     MURAL  DECORATION. 


A  Handbook  of  Utah  Art. 


105 


J.  LEO  FAIRBANKS.     CLARENCE  MERRILL. 

honorable  mention  in  both  sculpture  and  painting — an  unusual  achieve- 
ment. On  returning  he  secured  the  appointment  of  supervisor  of 
drawing  in  the  Salt  Lake  City  public  schools.  He  has  held  this  for 
many  years,  supplementing  his  art  study  abroad  with  courses  in  arts 
and  crafts  at  Columbia  and  other  American  universities  in  New  York 
and  Chicago.  Speaking  of  his  life's  work,  he  says :  "My  father's  atti- 
tude, his  willingness  to  sacrifice  everything  to  his  art,  has  been  an  in- 
spiration to  me  and  I  firmly  believe  has  changed  my  whole  career. 
Without  his  example  I  would  undoubtedly  have  followed  more  lucra- 
tive employment.  I  am  glad  of  the  life  I  have  chosen  and  for  the 
opportunity  that  is  now  coming  whereby  I  may  work  out  some  of  my 
ideals.  Nothing  is  more  delightful  than  creating  lovely  things  and 
helping  others  to  appreciate  the  beautiful."  He  is  genial,  gifted  and 
loves  work. 

Mr.  Fairbanks  has  an  inclination  to  mural  decoration  in  its  rela- 


106  Devotees  and  their  Shrines. 

tion  to  architecture.  He  is  interested  in  pattern  and  has  made  several 
successful  schemes  for  mural  decoration  for  interior  of  public  halls. 
He  says,  ^'I  have  enjoyed  the  sculpture  work  for  its  aid  in  the  study 
of  anatomy  and  design."  J.  Leo  Fairbanks  is  a  good  speaker  on  art 
subjects.  He  is  one  of  a  commission  working  for  civic  beauty  and  is 
chairman  of  the  Art  and  Literature  committee  of  the  Commercial  club. 
He  is  a  member  of  the  advisory  committee  of  the  American  section, 
International  Congress  of  Drawing  and  Manual  Training  Teachers. 
He  is  president  of  the  "Associated  Artists,"  an  organization  which 
maintains  a  free  public  exhibition  at  the  old  Social  Hall,  Salt  Lake  City. 
The  exhibition  is  open  Thursday,  Saturday  and  Sunday  from  4  to  6 
p.  m.  Mr.  Fairbanks  has  a  draped  fissure  "Grief"  which  is  strong  and 
sympathetic.  His  mural  decoration  in  public  buildings  is  no  doubt  his 
p-reatest  field.  The  portrait  of  Clarence  Merrill  is  praised  by  J.  T. 
Harwood  for  its  quality  of  life.  His  small  pictures  are  especially 
charming. 

LORUS  PRATT. 

At  the  instance  of  George  0.  Cannon,  President  Wilford  Wood- 
ruff sent  Lorus  Pratt,  Edwin  Evans,  John  Hafen  and  J.  B.  Fairbanks 
abroad  to  fit  themselves  for  decorating  and  beautifying  the  Salt  Lake 
Temple,  which  was  then  nearing  completion.  Examples  of  the  best 
art  of  these  men  are  in  that  beautiful  interior. 

Lorus  Pratt  is  the  son  of  Orson  Pratt,  the  first  of  the  pioneers  of 
'47  to  set  his  foot  in  Salt  Lake  vallev.  Lorus  as  a  boy  loved  music 
Pud  drawing.  The  vicissitudes  and  sacrifice  of  poineer  life  were 
fresh  in  his  mother's  mind.  She  could  not  consent  to  her  son's  devot- 
ing his  life  to  the  trials  and  hardships  that  must  come  in  pioneering  art. 
Lorus  Pratt  attended  the  Deseret  university  and  later  went  East  and 
to  Europe  for  art  studv.  While  he  was  in  New  York,  America's  first 
great  centennial  of  1876  took  place.  Here  Lorus  came  in  touch  with 
the  art  of  Europe.  Its  contact  fired  him  to  visit  Paris,  and  thereafter 
nothine  could  turn  him  from  his  great  desire  to  be  a  painter.  At  home 
he  was  under  Dan  Weggeland,  a  man  of  trulv  artistic  temperament 
who  was  enthusiastic  over  his  students  going  abroad. 

Pratt  became  a  student  at  the  Jidian  and  was  the  first  of  the  Utah 
bovs  to  eain  recognition.       His    teachers    were    Constant,    Doucet, 
Fleurier,  Elonee  and  Rigelott. 

Harvest,  river  and  peasant  scenerv  are  among  his  favorite  com- 
positions. He  has  also  painted  portraits  of  his  illustrious  father  and 
uncle.     Mr.  Pratt  married  Elzina  Wheeler.     A  noble  woman  she  has 


A  Handbook  of  Utah  Art. 


107 


PRATT.      THE   SHEPHERD   AND   FLOCK. 

proved.     The  struggles  of  this  artist  and  his  wife  have  been  all  that  his 
mother  foresaw. 

Pratt  had  ready  sale  for  the  pictures  he  painted  before  his  study 
abroad :  but  the  public  was  neglectful  of  him  and  lost  interest  when  he 
entered  a  more  advanced  field  of  art.  Let  us  hope  his  life's  great 
struggle  against  poverty  will  be  by  him  forgotten  and  that  hereafter 
he  may  be  recognized  by  the  people  of  this  state.  Lorus  Pratt  has- 
never  given  up  in  his  heroic  fight.  He  has  never  sacrificed  his  noble 
calling  for  gain.  He  has  done  what  he  could  to  remain  steadfast  and 
true  to  his  high  ideals. 


HARRIETT  RICHARDS  HARWOOD. 

In  the  woman's  building,  World's  Columbian  exposition,  Mrs. 
Harriett  Richards  Harwood  exhibited  a  still  life,  painted  in  Paris.  She 
was  the  only  Utahn  to  receive  that  honor. 

Harriett  Richards  was  married  to  J.  T.  Harwood  in  Paris,  and 
remained  there  with  him,  studying,  visiting,  in  the  galleries  and  paint- 
ing, until  their  return  to  America.  She  shows  originality  in  choice  of 
subject  and  has  a  special  aptness  for  still  life.  Mrs.  George  A.  Smith 
owns  a  small  picture  by  Mrs.  Harwood  called  ^'Goodies,"  in  which  the 
qualities  of  honey,  cake,  lemon  drops  and  other  sweetmeats  are  surpris- 
ingly painted. 

It  would  be  disappointing  if  Mrs.  Harwood  were  not  a  little  un- 
usual, for  her  parentage  is  of  the  best.  Dr.  Heber  John  Richards  is  a 
life-long  student  of  philosophy  and  science.     Mrs.  Harwood,  like  her 


108 


Devotees  and  their  Shrines. 


mother,  has  a  passion  for  flowers,  especially  house  plants.  She  has 
painted  cosmos,  asters,  chrysanthemmiis,  fruit  blossoms  and  roses. 
Handling  her  paint  daintily  she  secures  that  elusive  Uower  quality. 


Petunias  at  window  is  one  of 
Mrs.  Harwood's  best  pictures.  Her 
daughter  Ruth,  who  appears  in  J.  T. 
Harwood's  story,  designed  and 
made  the  beautiful  collection  of 
hand  bags  shown. 


LARA  RAWLINS  CAUFFMAN. 


Lara  Rawlins*  CaufTman  is  the  daughter  of  Senator  Joseph  L. 
Rawlins,  who  has  done  much  for  Utah's  advancement,  and  Julia  E. 
Rawlins,  a  well  known  patron  of  local  art.  Lara  went  abroad  with 
Miss  Teasdel  and  returned  to  Paris  again  with  her  mother  and  brother. 
Her  drawing  attracted  attention  from  the  time:6f  her  entrance  to  the 
Salt  Lake  studios  and  through  her  career  in  France.  Mrs.  CaufTman's 
native  grace,  refinement,  observing  power  and  feeling  for  the  beautiful 
show  admirably  in  her  work.  She  married  and  lives  in  California. 
Her  field  is  portraiture.  A  recent  portrait  of  her  mother  reveals  a  gift 
of  a  high  order.     A  handsome  baby  boy  is  now  posing  for  her  sketches. 

There  is  great  promise  in  the  young  artists  Calvin  Fletcher,  Waldo 
Midgley,  G.  Watson  Barrett,  Florence  Ware  and  Clyde  Squires. 


G.  WESLEY  BROWNING. 

"In  the  citron  wing  of  the  pale  butterfly,  with  its  dainty  spots  of 
orange,  he  sees  before  him  the  stately  halls  of  fair  gold,  with  their 
slender  saffron  pillars,  and  is  taught  how  the  delicate  drawing  high 
upon  the  walls,  shall  be  traced  in  tender  tones  of  orpinient,  and  re- 
peated by  the  base  in  notes  of  graver  hue." — Whistler's  ''Ten  o' Clock." 

G.  Wesley  Browning  has  temperament.  He  is  admired  chiefly 
for  his  water  colors,  though  he  paints  successfully  in  oils.  He  has  been 
denied  the  privilege  of  art  study  abroad,  but  his  intense  love  of  nature 
and  close  powers  of  observation  have  served  him  in  lieu  of  studio  life. 
His  charming  personality,  kindliness,  gentleness  and  dignity  have  found 
their  way  into  his  pictures.  From  early  youth  Mr.  Browning  roamed 
the  hills,  canyons  and  mountains,  searching  out  the  wild  ilowers,  insects 
and  bird  life  and  studying  nature's  varying  moods.  Music  and  art 
have  divided  his  affections,  but  lately  he  is  giving  more  time  to  paint- 
ing. Being  a  business  man  he  can  paint  at  intervals  only,  a  fact  that 
is  regretted  by  his  brother  artists,  who  feel  the  sympathetic  and  musical 
direction  of  his  work.  Mr.  Browning  has  been  active  in  all  art  societies 
in  recent  years.  He  is  an  authority  on  the  Utah  flora  and  has  one  of 
the  largest  collections  of  native  entomological  si:>ecimens  in  the  state. 
He  has  published  articles  and  stories  in  nature  study  magazines,  which 
show  a  wide  knowledge  of  the  life  history  and  habits  of  birds.  His 
favorite  themes  are  lights  and  shadows  in  running  brooks,  sunlight 
through  clouds,  sunset  glow  and  hillsides  of  flowers. 


no 


Devotees  and  their  Shrines, 


H.  L.  A.  CULMER. 

The  late  H.  L.  A.  Culmer,  according  to  his  own  declaration, 
painted  to  please  the  public.  He  succeeded  so  well  that  at  his  death  he 
was  undoubtedly  the  most  popular  Utah  artist. 

He  was  born  in  England  and  came  to  this  country  at  the  age  of 
fourteen  years.  He  hoped  to  become  a  painter,  but  being  governed  by 
circumstances  he  spent  only  Sundays  and  holidays  at  his  favorite  avo- 
cation— and  his  pictures  were  mostly  studio  painted.  Alfred  Lam- 
bourne  was  his  first  art  teacher,  but  his  tutelage  under  others  was  brief 
and  what  success  he  won  may  be  said  to  have  been  self  achieved. 

He  was  the  first  president  of  the  Utah  Art  Institute,  serving  two 
terms.  Active  in  all  civic  lines,  he  was  a  member  of  the  board  of  gov- 
ernors and  of  the  building  committee  of  the  new  Commercial  club.  He 
did  considerable  writing  as  a  member  of  the  Press  club.  In  his  younger 
days,  he  was  a  member  of  the  Wasatch  Literary  society  and  the  Zeta 
Gamma  debating  club,  organized  by  Dr.  John  R.  Park.  He  was  one 
of  the  founders  of  the  Home  Dramatic  club  in  1880. 

Mr.  Culmer  compiled  a  list  of  all  the  attractions  which  appeared 
at  the  Salt  Lake  Theatre  from  the  opening  night  in  March,  1862,  down 
to  some  ten  years  ago.  It  is  a  valuable  record  and  is  now  owned  by 
the  Salt  Lake  Theatre. 

Mr.  Culmer  married  a  beautiful  and  gracious  woman,  Annette 
Wells,  a  daughter  of  President  Daniel  H.  Wells,  who  was  one  of  the 
foremost  of  Utah's  statesmen. 

Speaking  of  Culmer's  work  Lambourne  says,  ''Especially  was  his 
knowledge  of  geology  evident  in  his  painting  and  many  of  his  best 
pieces  were  founded  upon  that  science.  The  'Mystery  of  the  Desert' 
and  the  'Temple  of  Om'  are  scenes  of  southern  Utah,  which  suggest 
the  magnificent  action  of  nature  in  remote  periods  of  time." 

Mr.  Culmer's  recent  death  caused  a  shock  to  the  entire  community. 
He  was  a  man  of  charming  personality  and  made  warm  friends.  His 
paintings  hang  in  the  homes  of  many  of  the  wealthy  citizens  of  Salt 
Lake  City,  as  well  as  in  public  places. 


A  Handbook  of  Utah  Art.  Ill 

EDWIN  EVANS. 

No  matter  that  Edwin  Evans  did  not  discover  his  gift  until  he  was 
nearly  thirty  years  old;  neither  did  Corot.  No  matter  that  he  had  a 
wife  and  children  before  he  entered  upon  the  profession  of  art.  No 
matter  that  environment  had  offered  little  suggestion  of  how  to  utilize 
his  gift.  Two  years  after  his  entrance  to  the  Paris  art  school  he  was 
exhibiting  in  the  art  building  of  the  World's  Columbian  exposition  at 
Chicago  with  an  important  picture  on  the  line,  the  only  Utah  painter 
to  be  thus  honored. 

Evans  and  Harwood  were  schoolmates  in  a  country  village  when 
the  latter  was  painting  and  sketching.  He  had  his  first  art  awakening 
when  he  saw  a  gifted  Scandinavian  cutting  shapes  of  animals  from 
paper — he  could  do  that !  He  soon  got  hold  of  water  color,  a  medium 
for  which  he  has  a  quick  sympathy  and  a  comprehension  of  its  peculiar 
possibilities. 

Evans,  a  Western  Union  telegraph  operator,  dispatched  scenes  he 
loved  while  waiting  for  messages.  Alonzo  E.  Hyde  and  John  Beck 
came  to  send  a  night  message,  saw  his  clever  sketching  and  told  him 
he  was  an  artist.  Within  a  few  months  he  was  transplanted  from  a 
country  telegraph  station  to  paint,  brush  and  palette  in  Paris.  Har- 
wood credits  Evans  with  advancing  more  rapidly  during  his  two  years 
abroad  than  any  of  the  other  artist  students.  The  artist  himself  admits 
that  he  had  never  loved  work  so  completely  as  when  he  was  painting. 

Soon  after  his  return  from  Paris  he,  with  Harwood,  Hafen,  Fair- 
banks, Clawson,  Pratt  and  others,  organized  the  Society  of  Utah 
Artists  and  held  a  picture  show.  Among  exhibitors  were  also  Wegge- 
land,  Ottinger,  Lambourne,  the  Brownings,  Mrs.  Marie  Gorlinski 
Hughes,  Harriett  Richards  and  Herman  Haag.  Who  does  not  recall 
the  glory  of  those  first  annual  exhibitions  of  real  art  given  more  than 
a  score  of  years  ago?  The  town  invariably  turned  out  to  see.  And 
in  those  days  people  bought  pictures.  Strange  to  think  back  that 
society  attended  and  the  wealthier  class  patronized  the  artists!  The 
press,  too,  was  favorable  to  the  best  art. 

Evans  was  chosen  president  of  the  Society  of  Utah  Artists  and 
served  as  such  many  years.  He  has  been  president  of  the  Utah  Art 
Institute  ever  since  the  incumbency  of  William  Spry  as  governor  of 
Utah.  Of  late  Evans  has  been  absorbed  in  educational  work  and  for 
years  has  held  the  chair  of  art  in  the  University  of  Utah. 

Because  he  has  had  the  fearlessness  to  hew  a  line  and  to  say,  "This 
is  art  and  that  is  not  art,"  he  has  made  strong  friends  and  strong 
enemies.  He  despises  the  copyist  and  is,  moreover,  intensely  critical ; 
but  he  is  quick  to  recognize  true  art.     He  will  condemn  a  picture  which 


112 


Devotees  and  their  Shrines. 


from  casual  view,  might  be  full  of  interesting  detail,  but  upon  closer 
study  would  reveal  a  lack  of  the  vital  fundamentals  of  art. 

He  is  quick  to  penetrate  shallowness  and  demands  that  a  picture- 
must  have  one  paramount  idea  with  all  else  subordinated. 

Hafen  was  more  emotional  than  Evans;  Evans  was  more  intel- 
lectual than  Hafen.  Hafen  never  ceased  working.  His  devotion  to 
his  calling  carried  him  ahead  of  all  the  rest.  It  is  to  be  regretted  that 
Evans  has  given  his  later  years  to  other  work  than  painting,  but  we 
are  not  unmindful  that  he  has  spent  his  time  in  an  effort  to  advance  the 
art  interests  of  the  state  along  educational  lines. 

He  has  been  a  persistent  and  fearless  advocate  of  the  development 
of  original  talents  among  the  youth  of  the  state,  and  has  bitterly  op- 
posed the  importation  of  certain  systems  of  drawing  in  our  common 
school  curriculums — systems  which  sap  vitality  and  originality,  the 
whole  hope  of  art. 

Sunlight  effects  are  considered  his  best  work.  He  revels  in  light. 
It  is  difficult  to  paint  yellow  both  in  sunlight  and  shadow  and  at  the 
same  time  to  keep  the  shadow  sparkling  with  light  as  it  does  in  nature. 
In  this  field  no  other  Utah  painter  has  equaled  him.  It  is  so  easy  to 
make  mud,  but  Evans  keep  his  canvas  luminous.  He  paints  success- 
fully such  themes  as  moonlight,  foggy  and  misty  weather,  evening, 
cattle,  the  lake  and  mountains.     He  is  direct  and  virile  in  style. 


Ib*1      fill  IR^ir    -^ 

iiiiiii  !|'   1 

1  1  1 1  1  y|    a        H 

1       ^^^^B 

{^■^^^^■■■^■■^^^^■^■■■■il 

NEW  ADMINISTRATION  BUILDING,  UNIVERSITY  OF  UTAH. 
Cannon  &  Fetzer,  and  Ramm  Hansen,  Architects. 


A  Handbook  of  Utah  Art,  113 

BYRON  CUMMINGS. 

Archaeology  is  a  young  science  and  as  yet  not  appreciated  fully. 
To  Dean  Cummings  of  the  State  University  belongs  the  credit  of  show- 
ing us  of  the  West  the  wonderful  things  within  our  own  boundaries. 
He  has  succeeded  in  introducing  the  study  into  the  Utah  university 
and  has  lately  obtained  from  the  legislature  (1912-13)  a  yearly  appro- 
priation of  $2,000  for  exploration  purposes. 

Through  his  influence  a  Utah  branch  of  the  Archaeological  Insti- 
tute of  America  was  organized  in  the  fall  of  1905  and  steps  were  taken 
to  awaken  a  greater  interest  in  archaeological  study  and  research.  The 
following  summer  he,  then  secretary  of  the  society,  made  a  short  trip 
of  exploration  into  ''Nine  Mile"  canyon  in  eastern  Utah.  This  first 
field  trip  demonstrated  that  that  was  the  most  northern  limit  of  the 
homes  of  the  "Cliff  Dwellers"  and  showed  that  these  earliest  Indians 
ventured  farthest  north  in  Utah.  Since  then  Mr.  Cummings,  aided  by 
various  university  students*  has  made  six  summer  expeditions  of  many 
weeks'  duration  into  the  cliff  dwelling  regions  of  southern  Utah  and 
Arizona.  The  first  two  of  these,  into  the  San  Juan  country,  were  gen- 
erously financed  by  Col.  E.  A.  Wall.  He  also  assumed  the  balance  of 
expense  above  the  $2,000  allowed  by  the  legislature  of  1908-09,  which 
covered  the  publication  of  Mr.  Cummings'  two  exceedingly  interesting 
bulletins,  issued  by  the  University  of  Utah  and  partly  paid  the  expenses 
of  the  expeditions  of  1909  and  1911.  In  all  of  these  trips  the  cost  has 
been  kept  down  to  the  actual  expenses  of  transportation,  food,  etc. 
Those  taking  part  have  dug,  packed  and  cooked  as  the  occasion  de- 
manded and  endured  hardships  cheerfully  for  the  education  and  enjoy- 
ment they  were  able  to  get  out  of  the  trip.  The  material  results  in 
collections  and  data  all  belong  to  the  State  and  are  being  housed  in  the 
new  fire-proof  Administration  building  at  the  State  University,  the 
whole  top  floor  being  set  apart  to  art  and  archaeology.  This  museum 
will  always  be  accessible  to  the  people  of-the  State. 

In  1907,  Bluff,  one  hundred  fifty  miles  from  the  railroad,  was 
made  the  base  of  operations  and  the  time  spent  in  surveying  and  pho- 
tographing the  White  canyon  great  natural  bridges  and  exploring  the 
ruins  of  the  homes  of  the  ancient  ''Cliff  Dwellers"  in  White  canyon, 
fifty-five  miles  north-west  of  Bluff,  and  in  Montezuma  canyon  and 
Butler's  Wash  which  come  into  the  San  Juan  fifteen  miles  east  and  ten 
miles  west  of  Bluff,  respectively.     In  1908,  the  side  canyons  of  Mon- 

*Joseph  Driggs,  Sandy;  John  C.  Brown  and  Andrew  Kerr,  Ogden;  Fred 
Scranton,  Neil  M.  Judd,  Stuart  Young,  Jay  Stockman,  Warren  Stratton,  Thos. 
Harper,  Geo.  Rynearson  and  Malcoln  Cummings,  Salt  Lake  City;  Donald 
Beauregard  and  J.  F.  Anderson,  Fillmore;  A.  S.  Jensen,  Brigham;  and  Leslie 
Frazier,  Beaver. 


114  Devotees  and  their  Shrines. 

tezuma  canyon  were  explored  and  a  large  pueblo  ruin  on  Alkali  Ridge 
excavated.  From  this  work  quite  a  large  collection  of  excellent  pottery 
and  and  stone  implements  was  obtained.  From  here  the  three  Uthans 
(Cummings,  Judd,  and  Lockhart)  traveled  about  one  hundred  miles 
into  the  Segie  canyon  country,  laying  plans  to  spend  the  next  summer 
amongst  the  interesting  cliff  ruins  found  there. 

This  was  done.  After  some  delay  and  hardship  caused  by  the 
high  water  and  quicksands  in  the  San  Juan,  the  party  succeeded  in 
reaching  the  southern  shore  of  that  treacherous  stream  and  heading  for 
Oljato,  Wetherill's  trading  post.  The  greater  part  of  the  summer  was 
spent  in  exploring  and  excavating  in  Segie  ot  Losie  canyon,  along  the 
Kayeuta  wash  and  in  the  upper  Segie  canyons.  Some  very  interesting 
ruins  of  the  earlier  cave  dwellers  were  found  in  Segie  ot  Losie  canyon 
and  a  fine  collection  of  their  baskets,  sandals,  stone  and  wooden  imple- 
ments and  crude  pottery  obtained.  In  the  Kayeuta  wash  a  number  of 
specimens  of  real  pottery  of  the  best  type  were  obtained  from  burials. 
In  the  Segie  canyons  two  large  houses — "Kitsil,"  containing  148  rooms 
and  "Betalakin,"  containing  120  rooms — were  visited.  ''Betalakin" 
had  never  been  entered  by  white  man  before  and  very  few  Indians  seem 
to  have  known  of  it.  From  the  excavation  of  "Ladder  House,"  a  ruin 
discovered  the  summer  before,  some  excellent  material  for  the  museum 
was  obtained.  The  party  made  two  trips  to  Navajo  Mt.,  one  in  July 
of  about  a  hundred  miles  to  the  south  of  Navajo  Mt.  into  some  deep 
box  canyons  known  as  the  Nitsie  canyons,  where  were  discovered  three 
large  cliff  ruins,  the  other  in  August  to  the  north-west  of  Navajo  Mt. 
into  a  very  rough  country  where  they  discovered  the  largest  natural 
bridge  in  the  world,  the  Nornezoshie  or  Rainbow  arch. 

Having  secured  a  leave  of  absence,  Mr.  Cummings  spent  Septem- 
ber on  the  Kayeuta  in  Arizona  and  with  the  assistance  of  Roe  and  John 
Redd  and  George  Barton  of  Monticello,  the  month  of  November  in 
exploring  and  excavating  in  Fable  Valley  and  Beef  Basin,  in  the  north- 
western part  of  San  Juan  County,  in  Utah.  The  first  of  December 
they  again  crossed  into  Arizona  and  excavated  the  "Betalakin"  pueblo 
which  the  party  discovered  the  previous  August.  Many  excellent  speci- 
ments  of  pottery,  basketry,  mats,  sandals,  cloth,  etc.,  were  secured  here. 
The  winter  of  1909  will  long  be  remembered  on  the  Reservation  as 
one  of  deep  snows  and  severe  cold.  Necessity  compelled  hard  work  in 
the  day  time  to  keep  warm  and  the  morning  often  found  the  party  dig- 
ging their  way  out  from  under  the  canopy  of  snow  that  had  covered 
them  during  the  night ;  yet  the  results  paid.  The  return  trip  to  Bluff, 
of  one  hundred  and  ten  miles,  as  the  year  of  1909  closed,  was  the 
severest  yet  encountered.  When  the  thermometer  fluctuates  between 
15  and  24°  below  zero,  and  bacon  freezes  on  the  way  from  the  frying 


A  Handbook  of  Utah  Art. 


115 


pan  to  the  mouth,  both  man  and  beast  find  it  rather  trying  to  camp  out. 

During"  the  summers  of  1911-12-13  three  large  houses  have  been 
discovered,  excavated  and  studied,  namely :  ''Turkey"  house,  "Bat- 
woman"  house,  and  "Twin-cave"  house,  all  in  the  Segie  canyons  in 
northern  Arizona.  From  these  houses  have  been  obtained  fine  speci- 
mens of  baskets,  cloth,  sandals,  all  kinds  of  implements  and  pottery. 
From  them  also,  have  been  gathered  the  evident  foundation  of  several 
Navajo  myths  that  help  connect  the  oldest  clan  of  the  Navajo  with  the 
inhabitants  of  these  cliff  houses. 

In  1912  a  short  trip  was  made  to  the  Hopi  villages  and  much  in- 
formation and  material  obtained  which  show  that  the  Hopi  are  the 
direct  descendants  of  the  old  "Cliff  Dwellers." 

Dean  Cummings  is,  naturally,  enthusiastic  over  his  chosen  field, 
and  certainly  the  growing  interest  for  the  pre-historic  dwellers  of  the 
wilderness  shown  by  his  students  repays  him  for  his  pains.  The 
public,  as  well  as  himself,  may  well  be  proud  of  the  museum  he  has 
founded.     Its  use  might  probably  be  clearer  if  put  in  his  own  words: 

"This  State  should  certainly  have  a  museum  of  archaeology  and 
history  connected  with  its  university.  Future  generations  of  students 
will  need  collections  adequately  representing  the  degree  of  culture  at- 
tained by  these  first  inhabitants  of  Utah  and  surrounding  states,  and 
showing  the  struggles  through  which  our  forefathers  have  passed  in 
laying  the  foundations  of  this  commonwealth.  Now  is  the  opportunity 
to  collect  and  save  these  things  that  will  speak  far  more  forcefully  than 
the  written  page  to  the  generations  who  will  follow.  The  men  of  today 
owe  this  to  the  young  men  and  women  of  tomorrow ;  and  they  cannot 
afford  to  neglect  this  opportunity  for  science." 

[NOTE.— Officers  of  our  local  Archaeological  Institute— Rt.  Rev.  F.  S. 
Spalding,  Hon.  W.  W.  Riter,  Hon.  Jas.  H.  Moyle,  Miss  Kate  Thomas,  Dean 
CHi-nmings,  N.  M.  Judd,  Col.  E.  A.  Wall  and  Dr.  J.  T.  Kingsbury.] 


George  M.  Ottinger,  by  Lee  Greene  Rich- 
ards. 


Applied  Art 


EMMA  FRANCES  DAFT. 

The  field  of  art  includes  more  than  pictures  and  statuary.  The 
artist  chooses  the  medium  best  suited  to  his  self  expression.  Even  a 
coal  scuttle  is  not  intrinsically  ugly — but  it  must  remain  a  coal  scuttle. 
The  extent  to  which  it  performs  its  function  determines  its  claim  as  art. 

That  which  the  hand  can  fashion  without  brains  can  never  be  art. 
Such  is  labor  and  must  remain  so.  Such  is  machine  work ;  and  speed 
the  day  when  it  all  shall  be  done  by  the  machine !  But  when  the  soul's 
inspiration  seizes  upon  a  design  by  which  material  may  be  shaped  to 
satisfy  some  need,  then  the  hand  lovingly  does  the  bidding  of  the  brain ; 
then  labor  is  exalted  into  art,  and  the  'laborer  becomes  greater  than 
his  hire."  It  is  then  he  exclaims,  'T  know  what  happiness  is,  for  I 
have  done  good  work." 

This  is  the  motto  of  the  students  of  crafts  in  the  Salt  Lake  High 
School. 

For  years  I  have  listened  to  the  daily  marching  of  throngs  of 
school  children,  with  the  question  always  stirring  my  heart,  keeping 
time  to  their  little  feet,  "Wherewith  shall  ye  eat  ?  Wherewith  shall  ye 
be  clothed  ?"  But  I  have  seen  the  High  School  boys  and  girls  working 
with  their  hands,  learning  to  be  self  sustaining.  At  last  self  expression 
is  made  possible  for  the  child  student.     We  are  showing  the  educators 


ART  STUDY  IN  SALT  LAKE  CITY  HIGH  SCilOUL. 


A  Handbook  of  Utah  Art. 


117 


WORK  OF  STUDENTS  UNDER  MRS.  DAFT. 


of  our  nation  the  way  to  provide  efficacious  art  training  for  future 
citizens. 

Emma  Frances  Daft,  teacher  in  the  department  of  applied  art,  has 
always  been  a  champion  of  her  beloved  art.  Mrs.  Daft  is  an  artisan, 
technically  correct,  experienced  as  to  finish  of  all  minute  details,  under- 
standing the  principles  of  good  construction.  But  she  is  more  than 
this ;  she  is  an  artist.  Years  of  training  with  J.  T.  Harwood  and  in 
schools  of  crafts,  have  developed  her  natural  gifts — a  refined  sensitive 
comprehension  of  all  things  beautiful,  an  inventive  aptitude,  a  gift  of 
originality  in  shaping  materials  into  artistic  forms.  Without  art  talent 
and  art  training  no  teacher  can  be  of  any  real  service  in  this  field. 
Art  to  the  mechanical  is  as  the  "savor  to  the  broth."  Through  the  art- 
artisan  we  will  learn  true  appreciation  for  such  as  painting  and 
sculpture. 

Among  the  art  producing  peoples  of  pre-machinery  times,  appre- 
ciation for  the  beautiful  was  a  part  of  the  life  training.  Owing  to  its 
malleability,  the  skilled  art-artisan  wrought  from  copper  a  beauty  of 
expression  equal  to  that  of  a  plastic  substance.  In  many  examples 
found  in  the  great  museums  one  feels  a  grasp  of  art,  love  of  work  and 
the  power  of  mind  over  matter.  The  physical  power  to  beat  the  metal 
into  shape  is"  not  sufficient ;  the  artisan's  fine  individuality  must  be  evi- 
dent. In  that  and  in  that  only  lies  the  value  of  the  finished  product, 
establishing- both  its  commercial  and  aesthetic  status. 

All  who  serve  art,  no  matter  in  what  medium  they  work,  be  it 
canvas,  marble,  plaster,  wood,  metal  or  textile,  are  of  one  family,  con- 
secrated to  one  end:  to  make  the  world  beautiful.     What  a  wonderful 


118 


Devotees  and  their  Shrines. 


thing  to  see  this  field  of  beautiful  occupations  opening  its  door  to  the 
young.  In  the  fourth  year  work  at  the  high  school  jewelry  is  studied 
as  a  climax  to  three  years  of  training  in  delicate  manipulations  in  metal 
and  leather.  The  student  cuts  and  polishes  beach  pebbles,  agates  and 
our  native  stones.  The  girls  make  their  own  rings  and  brooches  with 
the  amatrice.  Lamps,  trays,  nut  sets,  handbags,  purses,  and  articles 
too  numerous  to  mention,  come  out  of  this  department. 

Metallography,  because  of  its  inexhaustible  processes  and  tech- 
nique, furnishes  the  best  training  for  the  hand.  A  spirit  of  interest 
charms  and  holds  the  student ;  each  article  he  has  wrought  becomes  his 
treasured  work  of  art.  In  creating  each  fabric  he  discovers  and  uses 
the  great  fundamental  principles  that  underlie  all  art.  He  feels  for 
beauty  of  form  or  of  line.  He  works  out  an  original  design.  He 
makes  a  harmony  in  color.  He  has  thought  of  balance  and  agreeable 
proportions.  Aiming  for  utility  he  discovers  simplicity  and  uncon- 
sciously stamps  the  whole  with  his  own  personality.  Did  Giotto,  the 
builder  of  the  marvelous  campanile  of  the  cathedral  of  Florence  work 
differently  in  constructing  that  surpassingly  beautiful  piece  of  archi- 
tecture? No,  the  process  was  the  same.  The  difference  was  only  in 
the  extent  of  power. 

MARGARET  MERRILL  FISHER. 

Margaret  Merrill  Fisher,  designer  and  maker  of  real  lace,  inherited 
art  talents.  Her  mother  Bathsheba  S.  Merrill,  could  always  fashion 
anything  from  paper,  and  is  also  a  real  lace  maker  and  designer.  Her 
grandmother,  Bathsheba  W.  Smith,  studied  drawing  and  painting  in 


A  Handbook  of  Utah  Art.  119 

Nauvoo  and  in  early  days  took  prizes  for  drawing  and  designs  which 
she  executed  in  hand  woven  wool,  linen  or  cotton  fabrics. 

Mrs.  Fisher  studied  design  in  New  York,  and  made  several  hun- 
dred botanical  drawings  for  Prof.  Marcus  E.  Jones  for  illustrating  his 
recent  work  on  western  botany,  etc. 

Mrs.  Fisher  has  taken  prizes  at  the  Utah  Art  Institute  for  original 
designs  in  lace,  silk  and  wall  decorations. 


LOUISE  E.  JENNINGS, 
DECORATIVE  ARTIST. 

The  Salt  Lake  High  School  is 
forging  ahead  in  decorative  art — the 
right  field  of  art  study  for  eight  and 
nine  grades.  Teachers  are  asbo- 
lutely  valueless  in  this  work  without 
a  good  foundation.  Louise  E.  Jen- 
nings has  brought  excellent  results  as 
seen  by  the  accompanying  designs 
done  by  her  pupils  at  high  school. 
Miss  Jennings  finished  a  thorough 
course  in  the  Chicago  Art  Institute, 
where  her  standing  was  high.  She 
is  strong  in  her  work,  mentally  alert 
and  talented.  She  is  the  daughter  of 
Isaac  and  Irene  Jennings  and  a 
granddaughter  of  William  and  Jane 
Jennings.  She  has  grasped  the  true 
meaning  of  decorative  art  and  while 
firing  the  whole  class  with  enthu- 
siasm has  the  faculty  of  recognizing 
the  best  touch  in  each  individual 
pupil.  The  absence  of  this  trait  in 
teachers  is  what  retards  art  growth 
in  schools.  For  while  ninety  per  cent 
of  school  children  can  develop  a  taste 
for  art  by  designing  and  making 
beautiful  things,  only  one  or  two  of 
a  large  class  are  fitted  for  the  art  of 
making  pictures. 


History  of  Architecture. 


By  GEORGE  M.  ALLEN, 
B.  S.;  E.  M.,  Univ.  of  Utah;  Master  of  Architecture  Cohimbia  Univ. 

A  History  of  Architecture  would  record  man's  efforts  to  build 
beautifully.  The  erection  of  works  without  beauty  is  building;  it  is  a 
trade  and  not  an  art.  Structures  built  for  stability,  strength,  and 
utility  are  properly  works  of  engineering,  and  it  is  only  when  the  idea 
of  beauty  is  added  that  they  become  architectural.  We  may  therefore 
define  architecture  as  the  art  which  seeks  to  combine  utility  with  beauty 
into  a  harmonious  and  pleasing  whole.  It  is  a  fine  art  that  touches  the 
very  life  of  man  at  many  points.  It  provides  him  with  shelter ;  with 
places  for  worship,  business  and  amusements ;  with  monuments,  tri- 
umphal arches,  etc.,  for  the  enrichment  of  his  cities;  with  tombs,  me- 
morials, catafalques  and  other  structures  for  the  needs  of  his  complex 
civilization.  In  point  of  people  employed  and  money  expended  it  is 
surpassed  by  one  occupation  only,  that  of  agriculture.  Everyone  at 
some  point  comes  in  contact  with  architecture ;  is  influenced  by  it,  and 
in  turn  exerts  an  influence.  It  is  this  close  universal  relationship  that 
makes  it  so  sure  an  index,  a  sort  of  personal  thumb  mark,  of  the 
civilization  of  any  time  and  people.  The  way  and  manner  in  which 
the  architectural  ideas  of  any  time  and  people  are  expressed  depends 
chiefly  on  the  following  things:  (a)  racial  heredity,  tendencies  and 
traditions,  showing  in  the  preference  of  structural  forms  over  orna- 
mental or  decorative  forms,  or  vice  versa ;  in  the  desire  for  richness, 
dignity  and  grandeur;  in  breadth  and  greatness  of  conception;  in  love 
of  color,  use  of  accessories  such  as  statuary,  monuments,  etc.  Also  the 
intellectual,  religious,  social,  moral  and  even  political  tendencies  deter- 
mine the  kind  of  structures,  their  number  and  also  their  relative  sizes 
and  importance;  (b)  environment  as  determined  by  geographical  loca- 
tion, contact  by  conquest  or  commerce  with  other  nations,  importation 
of  works  of  art  and  materials  and  the  employment  of  foreign  artisans, 
etc.,  resulting  sometimes  in  a  very  strong  influence  and  sooner  or  later 
in  the  planting  of  the  germ. of  a  new  style;  (c)  geological  conditions, 
building  materials  at  hand  and  availability  of  manufactured  supplies. 

Hi.storically,  the  life  of  man  has  been  one  uninterrupted  succession 
of  external  influences  and  hereditary  influences,  of  causes  and  varying 
results.  Through  it  all  tradition  and  custom  have  persisted  to  a  re- 
markable degree.       To  understand  the  results,  we  must  know  the 


A  Handbook  of  Utah  Art. 


121 


causes,  and  the  study  of  architectural  history  is  as  much  the  study  of 
the  determining  reasons  and  the  varying  controHing  spirit,  as  it  is  of 
the  architectural  forms  themselves. 

ARCHITECTURE  IN  ENGLAND. 

Architecture  Before  the  Renaissance.  The  earliest  historic 
monuments  existing  in  England  (as  distinguished  from  the  prehistoric 
circles  of  stones,  tumuli  and  harrows)  are  some  few  Saxon  and  Celtic 
buildings,  mostly  towers  and  crypts  whose  exact  ages  are  unknown. 
They  all  show  poverty  in  design  and  lack  of  skill  in  building. 

With  the  Norman  Conquest  (1066)  came  Norman  ecclesiastics 
from  the  monasteries,  which  were  then  the  centers  of  culture,  art  and 
technical  skill,  and  who,  under  William  the  Conqueror,  endeavored  to 

rival  and  surpass  the  con- 
temporary churches  of 
Normandy.  Their  system 
and  style  of  building  was 
one  variety  of  the  Ro- 
manesque style  as  used 
over    Western    Europe — 

(I  I  ^^^^Hp  ^     churches   of   stone,   using 

\l  ^^^B^  j^JH     ^vhere    possible    fireproof 

^  IHIv  P^H     ^^^^^^''§^  vaults  of  stone.     It 

i'lWiil  M^M     ^^^    ^^^^    persevering    at- 

tempts to  solve  this  prob- 
lem of  vaulting  that  led 
finally  to  the  wonderful 
churches  of  the  Gothic 
period.  Norwich  cathe- 
dral (1096-1135,  Fig.l) 
is  one  of  the  few  Norman 
(or  English  Romanesque) 
cathedrals  that  has  not 
been  very  greatly  altered 
and  added  to.  Its  massive 
Norman  round  arched 
walls  are  used  to  support  a  Middle  Period  Gothic  vaulted  ceiling.  In 
Fig.  1  the  four  centered  arches  around  the  chancel  are  in  the  Late  or 
Perpendicular  Gothic — the  style  which  formed  the  basis  of  the  Tudor 
Gothic.  In  the  twelfth  century  came  a  great  intellectual  awakening, 
which  with  the  many  economic,  social  and  political  changes  marked 
to  some  extent  the  beginning  of  our  modern  civilization.  The  power 
and  authority  of  the  church  and  the  state  rose  rapidly  and  with  it 


Fig.  1.     Interior  of  Norwich  Cathedral. 


122 


Devotees  and  their  Shrines. 


ecclesiastical  architecture  received  a  fresh  and  powerful  impulse.  The 
work  and  the  style  of  this  period  (1150-1450  or  1500)  are  known  by 
the  unsuitable  name  of  Gothic ;  the  structural  principles  of  which  were 
those  of  the  Romanesque,  but  carried  on  to  a  logical  conclusion.  West- 
minster Abbey  (begun  1245),  an  important  example  of  English  Gothic 
style  development,  shows  a  decided  French  influence  in  its  flying  but- 
tresses, its  internal  loftiness  and  its  polygonal  chevet  and  -  chapels 
(Fig.  2).  The  "plate"  tracery  of  the  interior  and  exterior  windows 
of  the  chevet  fix  the  style  as  Early  to  Middle  Period  English,  as  do 
the  mouldings,  carved  capitals,  etc.  There  is  not  space  4iere  to  discuss 
the  English  Gothic,  from  either  the  historical  sequence  or  the  decora- 
tive forms  used,  and  all  that  can  be  done  is  to  refer  the  reader  to  any 


Fig.  2.     Interior  of  Westminster  Abbey. 

good  architectural  history.  Care  must  be  used  in  studying  the  English 
Romanesque  and  Gothic  cathedrals  since  practically  all  of  them  have 
undergone  important  changes  at  various  times  during  the  Gothic  Period 
and  again  in  the  nineteenth  century. 

The  Transition  to  the  Renaissance.  In  domestic  architec- 
ture, the  early  Gothic  houses  of  the  better  class  were  fortress-castles 
belonging  more  to  military  engineering  than  to  architecture.  It  was 
not  until  the  last  part  of  the  period  and  in  the  sixteenth  century  that 
the  better  establishment  of  law  and  order  resulted  in  the  building  of 
manor-houses,  in  a  debased  Gothic  style,  called  the  Tudor  Gothic,  and 
which  still  retained  much  of  the  feudal  character  of  the  earlier  castles. 
In  the  smaller  class  very  few  stone  houses  remain,  but  of  the  half  tim- 
bered houses  of  the  fourteenth  and  fifteenth  centuries  very  many  are 
still   standing,   wider   and   lower   than   the  contemporary   houses   of 


A  Handbook  of  Utah  Art,  123 

France — but  patterned  after  tlieni — in  frames  of  wood  with  brick  and 
plaster  fillings.  Later,  during  the  reigns  of  Henry  VII  and  Henry 
VIII  (early  sixteenth  century)  many  Italian  artisans  were  employed 
in  building.  Their  efforts  were  confined  to  details  and  resulted  in 
many  delicately  moulded  plaster  ceilings  and  friezes;  works  in  terra 
cotta  and  low  relief  and  carvings  after  their  own  style.  Their  influ- 
ence although  not  great,  helped  pave  the  way  for  the  more  mature 
Renaissance  to  come.^ 

Elizabethan  Style.  With  the  change  of  religion  under  Eliz- 
abeth (1558-1603),  the  then  considerable  commerce  and  intercourse 
with  Italy  was  rapidly  diverted  to  Germany  and  the  Low  Countries, 
and  it  was  consequently  from  these  latter  that  England  began  to  draw 
her  foreign  artisans — decorators,  masons,  carpenters,  wood  carvers, 
weavers,  etc.  These  foreigners  were  called  in  by  the  English  master 
masons  to  do  practically  nothing  more  than  the  decorating  and  orna- 
mental parts  of  their  nearly  finished  manor  houses,  since  that  was  the 


^The  Renaissance  movement  became  apparent  in  Italy  as  early  as  the 
fourteenth  century.  The  reaction  from  the  restraint  of  medieval  church  teach- 
ings, etc.,  led  to  inquiries  into  the  various  sciences  and  to  the  discoveries  by 
the  early  navigators.  Above  all  it  led  to  an  enthusiastic  study  of  the  wealth 
of  classic  Roman  architecture  scattered  over  all  Italy.  The  Gothic  in  Italy 
had  been  but  little  more  than  a  borrowed  style,  and  soon  gave  way  to  the  freely 
appropriated  and  altered  Roman  art,  for  the  Italian  artists  were  quick  to  catch 
the  spirit  of  the  classic  revival  and  it  developed  rapidly,  at  first  full  of  grace 
and  freedom  of  decorative  detail,  and  use  of  motives  with  great  variety  and 
originality.  Then  came  the  formally  classic  Period  or  the  High  Renaissance 
(1490-1550)  when  the  "orders"  were  copied  with  increasing  accuracy,  with  an 
increase  of  stateliness  and  some  loss  of  delicacy  and  freedom  of  design;  then 
the  BaroQue  Period  (1550-1600);  followed  by  the  Decline  (1600-1700). 

The  several  types  of  columns  and  entablatures  used  by  the  Romans  (100 
B.  C.-300  A.  D.)  are  called  the  Classic  Orders.  The  column  had  its  prototype 
in  the  stone  piers  of  houses  and  tombs;  and  the  entablature  in  the  great  stone 
slabs  or  lintels  resting  on  the  piers.  The  steps  of  development  we  must  skip. 
One  tvpe  the  Romans  found  in  Italy;  they  imported  three  more  from  Greece; 
altered  and  adopted  all  four  of  them;  and  practically  created  a  fifth.  The 
colunms  and  entablatures  each  consist  of  three  main  members — the  base,  shaft, 
and  capital  of  the  column,  and  the  architrave  frieze,  and  cornice  of  the  en- 
tablature, all  of  which  vary  in  their  proportions,  combinations  and  kinds  of 
mouldings  and  motives  used.  Each  order  was  fairly  definite  in  itself — the 
result  of  convergent  practice  extending  over  a  considerable  time.  The  five 
orders  are:  the  Tuscan — the  simplest  and  strongest;  the  Doric,  in  which  there 
are  two  varieties  of  entablatures;  the  Ionic,  with  its  curved  volutes;  the  Corin- 
thian, and  the  Composite.  Vignola  in  the  sixteenth  century  drew  these  Orders 
to  what  he  considered  the  best  proportions,  and  with  the  best  combinations  of 
mouldings,  as  determined  by  the  measurement  and  study  of  the  numerous 
Roman  monuments.  To  the  reader  is  urgently  recommended  the  study  and 
familiarization  of  Vignola's  Orders;  of  the  architectural  monuments  and  civili- 
zation of  the  Romans,  as  well  as  those  of  the  Italians  during  the  Renaissance. 
English  Renaissance  architecture,  both  as  to  spirit  and  forms  used  is  funda- 
mentally based  on  the  Italian,  and  a  real  understanding  of  the  former  requires 
a  knowledge  of  the  latter. 


124  Devotees  and  their  Shrines. 

only  type  of  building  going  on  then  to  any  extent.  The  German  in- 
fluence is  seen  very  strongly  in  the  wood  screens,  mantel  pieces,  ''strap- 
work"  gables,  plaster  ceilings,  etc.,  of  the  period.  This  ''strap-work" 
— a  curious  flat  relief  carving,  resembling  leather  or  metal  straps 
applied  with  nails  or  rivets — was  used  with  little  judgment  on  all  possi- 
ble surfaces.  The  "orders"  began  to  be  used  in  the  minor  decoration 
of  doors,  windows,  mantels  and  chimneys.  The  heavy  Tudor  battle- 
ments were  replaced  by  open  work  balustrades,  and  the  pointed  Tudor 
Gothic  arches  gave  way  to  square  topped  openings.  Ceilings  were 
treated  with  elaborate  interlacing  patterns  in  low  relief,  and  with  the 
increasing  use  of  woodwork  the  manor  houses  took  on  a  more  home- 
like air. 

Elizabethan  houses  planned  around  a  quadrangular  court  soon 
gave  way  to  those  with  three-sided  courts,  and  these  in  turn  were  re- 
placed by  houses  with  E  and  H-shaped  plans,  in  which  rigid  detailed 
symmetry  was  observed.  The  small  house  was  rectangular,  with  the 
hall  or  living  room  in  the  middle;  the  kitchen  at  one  end,  and  the  living 
rooms  at  the  other.  In  both  the  large  and  small  houses,  the  hall  was 
the  center  of  the  plan,  with  rooms  on  either  side,  access  to  which  was 
from  the  court  or  from  adjacent  rooms,  for  hallways  or  corridors  were 
not  introduced  until  late  in  the  reign  of  Elizabeth.  The  hall  lost  its 
importance  and  became  just  an  entrance  hall,  opening  into  the  principal 
staircase  hall  and  surrounded  by  living  rooms,  parlors,  etc. ;  with  the 
long  gallery — a  development  of  this  period — on  the  second  or  top  floor. 
The  sixteenth  century  contributed  the  long  gallery,  the  grand  staircase 
and  the  superabundance  of  windows.  Some  of  the  important  buildings 
of  this  sty'e  are  Longleat  House  (1579);  Wollaton  Hall  (1580); 
Hardwicke  and  Charlton  Halls,  and  Burghley,  Hatfield,  Holland  and 
Montacute  Houses  (1580-1600).  Montecute  House,  (Fig.  3),  shows 
little  German  or  Italian  influence.  It  is  rather  the  work  of  English 
builders,  in  the  Tudor  style  as  generally  modified  by  these  foreign 
influences.  The  balustrade  between  the  flat  gables  of  the  roof,  and  the 
square  carved  panel  over  the  entrance  door  are  the  only  typically 
Renaissance  details  visible. 

Jacobean  Style.  Building  traditions  continued  much  the  same 
under  James  I  (1603-25)  as  they  were  in  the  previous  reign.  Details 
of  classic  origin  came  into  more  general  use,  but  greatly  altered  and 
treated  without  grace  and  lightness.  Examples  of  this  style  are  Bo- 
kover  Castle  (1613),  and  Heriot's  Hospital,  Edinburgh. 

Classic  Period.  The  English  spirit  of  conservatism  was  respon- 
sible for  the  slow  yielding  of  the  Tudor  Gothic  traditions  to  the  mature 


A  Handbook  of  Utah  Art. 


125 


classically  correct  Renaissance  as  introduced  finally  by  Inigo  Jones.^ 
Of  his  early  works,  the  Banquet  Hall,  at  Whitehall  (begun  1619)  is  a 
notable  example.  It  is  a  composition  in  two  stories,  rusticated  through- 
out; adorned  with  columns  and  pilasters,  and  contains  a  fine  vaulted 
hall  in  three  aisles.  It  formed  a  part  of  the  design  for  a  Palace  at 
Whitehall,  a  big  conception  excellently  planned  and  well  studied  in 
details;  but  beyond  the  exhausted  resources  of  the  kingdom.  Most  of 
Jones'  works  show  the  same  feeling  of  dignity  and  simplicity.  Im- 
portant examples  of  his  work  are  St.  Paul's  Convent  Garden  (begun 
1631),  now  altered  and  modernized;  Raynham  Hall,  Norfolk  (1636) ; 

the  south  front  and  a  suite 

of  rooms  of  Wilton  House, 
near  Salisbury,  and  the 
villa  at  Chiswick,  a  some- 
what reduced  copy  of  Pal- 
ladio's  Villa  Capra  near 
Vicenza  in  Italy;  and  a 
front  to  St.  Paul's,  Lon- 
don— an  unhappy  addition 
of  Renaissance  architec- 
ture to  a  Gothic  building. 
John  Webb  (1611- 
74),  a  pupil  and  draughts- 
man of  Jones,  carried  to 
completion  the  construc- 
tion of  many  of  Jones'  designs  after  his  death  in  1652.  Webb  was  an 
apt  pupil,  but  he  lacked  balance  and  mastery  of  detail,  as  most  of  his 
designs  show.  Thorpe  Hall  (1656),  one  of  his  greatest  successes,  is 
singularly  dignified;  the  interior  is  richly  ornamented  with  paneling 
and  plaster  work ;  the  plan  is  oblong,  with  the  main  rooms  on  the  first 
floor  above  a  high  basement — a  common  practice  of  the  day, — and  the 
exterior  is  of  stone,  in  three  stories,  with  a  steep  pitched  roof  with 
dormers,  and  covered  with  slate. 

Along  with  the  Renaissance,  as  introduced  by  Inigo  Jones,  the 
Late  or  Perpendicular  style  of  Gothic  persisted  in  church  architecture, 
due  mostly  to  the  slow  changing  of  religious  thought  and  ritual  needs. 


Entrance  Front  of  Montacute  House, 
Somersetshire. 


2]y[Q(]gj.,-j  architectural  history  is  mainly  the  record  of  the  works  of  indi- 
vidual architects,  where  the  architect  is  responsible  for  the  entire  design;  as 
contrasted  with  the  medieval  method  of  building,  by  trade  guilds,  etc. — where 
often  not  more  than  the  general  scheme  was  determined  beforehand,  and  the 
design  and  construction  left  to  the  guilds  themselves,  who  built  according  to 
their  acquired  knowledge  and  their  traditions.  Since  a  modern  building  is  so 
much  the  work  of  one  man,  or  an  architectural  firm,  it  expresses  the  person- 
ality of  the  architect  in  many  ways — a  truism  well  to  remember. 


126 


Devotees  and  their  Shrines. 


Sir  Christopher  Wren  (1632-1723),  the  greatest  of  Jones'  suc- 
cessors, was  particularly  successful  in  parish  church  architecture,  of 
which  St.  Stephens',  Walbrook,  is  most  admired.  It  has  a  rectangular 
plan,  divided  into  five  aisles  by  rows  of  columns,  and  in  the  central 
portion  a  circular  dome  45  feet  in  diameter  is  supported  on  arches 
springing  from  a  heavy  entablature  on  eight  columns.  He  may  also 
be  called  the  inventor  of  the  English  Renaissance  type  of  steeple,  in 
which  a  pyramidal  or  conical  spire  is  fitted  to  a  square  tower  or  belfry, 
with  motives  between  to  make  a  harmonious  whole.  The  steeple  of 
Bow  Church,  Cheapside,  is  the  most  successful  example  of  the  type. 


It-' 


iimiii 


Fig.  4.     Exterior  of  St.  Paul's,  London. 

After  the  great  fire  of  London  in  1666,  in  which  St.  Paul's  was  burned. 
Wren  was  ordered  to  prepare  drawings  for  a  new  St.  Paul's,  to  replace 
the  former  Gothic  one,  and  the  plan  of  which  as  finally  accepted,  is  that 
of  an  English  Gothic,  with  its  typical  great  length  of  nave,  and  square 
ended  apse.  The  general  dimensions  are:  length,  480  feet;  width  of 
transepts  end  to  end,  250  feet;  diameter  of  centra!  area  under  dome, 
108  feet;  height  of  inner  dome,  216  feet;  and  to  the  top  of  the  lantern 
on  the  exterior  dome,  360  feet.  The  style  is  strictly  Italian  Renais- 
sance and  of  dignified  and  sober  design,  although  somewhat  lacking  in 
variety  and  inspiration.  The  exterior  walls  are  treated  with  two 
stories  of  corinthian  columns,  the  second  story  being  merely  a  screen 
to  hide  the  clear  story  and  to  give  greater  height  and  mass  to  the  long 
exterior.  The  west  front  with  its  two  storied  porch  and  bell  towers 
is  more  successful,  and  next  in  interest  to  the  dome,  which,  dominating 


A  Handbook  of  Utah  Art. 


127 


Fig.  5.     Interior  of  St.  Paul's,  London. 


the  church;  with  its  high  drum  and  impressive  peristyle  gives  to  the 
whole  a  signal  majesty  of  effect.  The  dome  consists  of  three  shells, 
the  inner  216  feet  high,  enriched  with  an  Ionic  Order,  paintings,  etc.; 
the  middle  shell — a  cone  of  brick  to  support  the  stone  lantern  sur- 
mounting the  exterior  dome  of  wood.  St.  Paul's  is  the  most  imposing 
modern  building  in  England  and  ranks  among  the  first  five  or  six  of 

Europe.  Wren  also  did  the 
pavilions  and  colonnade  of 
Greenwich  Hospital,  his  best 
work  in  public  buildings;  the 
Sheldonian  Theatre,  Oxford, 
and  Trinity  College  Library  at 
Cambridge. 

The  Anglo  Italian  style  of 
Jones  and  Wren  continued 
through  the  eighteenth  century. 
Between  1700-1750  a  number 
of  important  county  seats  and 
some  churches  were  erected. 
The  leading  architects  of  the  time  were  Van  Brugh  (1666-1726), 
Hawksmoor  (1666-1736),  and  Gibbs  (1683-1754).  To  Van  Brugh 
belong  Blenheim  and  Castle  Howard,  both  showing  skilful  handling 
of  plan  and  mass,  and  a  successful  striving  for  grandeur  and  variety. 
Hawksmoor,  a  pupil  of  Van  Brugh,  was  the  architect  of  St.  Mary's, 
Woolnoth,  the  exterior  of  which  was  designed  without  the  orders,  by 
rusticating  the  entire  wall  surface  and  placing  the  windows  in  large 
recessed  arches;  St.  George's,  Bloomsbury,  and  the  new  Quadrangle 
of  All  Souls  at  Oxford.  James  Gibbs  did  St.  Martin's-in-the-Fields, 
London,  (1726),  a  church  with  an  impressive  Corinthian  portico  and 
a  steeple  apparently  "placed  on  the  roof"  with  no  visible  line  of  support 
from  the  ground,  a  device  open  to  criticism,  yet  giving  an  effect  as  a 
whole  of  grandeur  and  harmony;  Radcliffe  Library,  at  Oxford  (1747, 
Fig.  6),  a  circular  domical  hall  surrounded  by  rooms  and  alcoves,  the 
exterior  of  which  is  treated  with  coupled  columns,  set  on  a  rusticated 
lower  story. 

Sir  William  Chambers  (1726-96)  was  the  best  known  of  the  later 
eighteenth  century  architects,  chiefly  on  account  of  his  Treatise  of  Civil 
Architecture,  and  the  extension  and  altering  of  Somerset  House,  Lon- 
don. Robert  Adam,  one  of  the  brothers  Adam,  who  were  known  for 
their  interior  decorating,  and  mantel  pieces,  etc.,  designed  Keddlestone 
Hall,  and  Edinburgh  University.  The  two  Dances  were  the  architects 
for   New   Gate   Prison,   at  London    (recently   demolished),   and   the 


128 


Devotees  and  their  Shrines. 


Mansion  House  (Fig.  7),  a  design  in  three  stories  using  a  colossal 
Corinthian  Order,  an  entrance  portico,  and  an  attic  story  treatment 
for  the  third  floor.  The  style  is  more  Roman  than  Renaissance  and 
belongs  to  the  classic  Roman  Revival.  The  architecture  of  the  eigh- 
teenth century  was  mostly  respectable,  and  often  dignified,  yet  it  was 
a  period  peculiarly  lacking  in  spontaneity  and  artistic  creativeness. 

The  Classic  Revivals.     In  Europe  the  Renaissance  movement 
had  practically  ceased  in  the  early  eighteenth  century,  and  during  the 

subsequent  reaction  and  depres- 
sion the  taste  swung  to  Roman 
Architecture,  not  so  much  for  in- 
spiration as  for  literal  copying. 
The  result  was  a  decided  gain  in 
the  splendor  of  the  streets  at  the 
expense  of  interior  proprieties  and 
conveniences,  which  were  greatly 
subordinated.  The  Roman  Re- 
vival was  superseded  by  the  Greek 
Revivai  near  the  end  of  the  eigh- 
teenth century.  Interest  in  the 
architecture  and  art  treasure  of 
Greece  was  given  a  powerful  start 
by  the  expedition  of  Stuart  and 
Revett  in  1732. 

In  England  the  Renaissance 
style  of  Wren  and  Gibbs  and  their 
successors  continued  until  super- 
seded by  the  Greek  Revival,  but 
not  without  a  distinct  tendency  to 
the  Roman,  spirit  and  motives,  which  show  in  the  Royal  Exchange 
(1789,  restored  1846);  in  the  Mansion  House,  already  mentioned 
(Fig.  7),  and  in  many  public  buildings  of  Dublin,  and  Bath.  The 
Greek  movement  began  to  supersede  the  Roman  and  in  the  Bank  of 
England  (1788),  by  Sir  John  Loane,  it  had  its  first  important  monu- 
ment. The  order  used  is  a  close  copy  from  the  Greco-Roman  order 
of  the  round  temple  at  Tivoli,  applied  to  a  facade  too  low  for  its 
length,  and  set  on  an  insufficient  stylobate,  or  platform.  But  there 
is  a  certain  effectiveness  about  the  recessed  colonnade  and  unpierced 
walls.  The  British  Museum,  by  Robt.  Smirke  (1781-1867)  is  an 
attempt  in  a  more  pure  Greek  Ionic  style,  but  the  facade  is  a  mere 
frontispiece,  applied  to  a  poorly  planned  and  commonplace  building. 
English  architects  apparently  did  not  realize  the  bareness  of  Greek 


Fig.  6.     Radcliflfe  Library,  Oxford. 


A  Handbook  of  Utah  Art. 


129 


architecture  when  stripped  of  its  scultpure  and  color.  The  British 
Museum  in  particular  would  have  been  greatly  bettered  by  the  judic- 
ious use  of  carving  and  statuary  groups.  The  Fitzwilliam  Museum  at 
Cambridge  (Fig.  8),  by  Basevi,  was  more  happy,  of  better  proportions 
and  avoided  the  trouble  of  several  stories  of  windows  in  the  height 
of  the  order,  but  it  is  as  much  Roman  as  it  is  Greek.  The  most  suc- 
cessful of  the  British  Greek  designs  is  St.  George's  Hall,  Liverpool,  by 
Elmes  (1809-46).  The  exterior,  with  its  imposing  peristyle  and 
porches,  is  Greek  in  spirit  and  detail,  but  the  interior  with  its  great 
hall,  is  really  Roman.  The  Greek  Revival  affected  domestic  and 
ecclesiastical  architecture  of  the  time  to  a  great  extent,  in  spite  of  its 
lack  of  flexibility.     In  sepulchral  monuments  there  are  several  worthy 


Fig.  7.     Mansion  House,  London. 

of  mention,  among  these  are  the  monuments  to  Robert  Burns  and 
Dugald  Stewart,  both  in  Edinburgh,  and  inspired  from  the  Monument 
of  Lysicrates  (330  B.  C.),  at  Athens. 

The  Victorian  Gothic.  While  the  Greek  Revival  was  still  de- 
veloping in  the  early  nineteenth  century,  a  group  of  students  of  Eng- 
lish Medieval  Architecture  started  a  movement  for  the  revival  of  Gothic 
as  the  national  style.  Led  by  the  two  Pugins,  Brandon,  Rickman  and 
others,  about  1830-40,  the  first  attempts  were  travesties.  Later,  with 
the  increasing  skill  and  knowledge,  the  movement  became  more  con- 
sistent, and  tended  more  to  archeological  correctness  than  to  freedom 
of  design.     During  this  time  a  great  number  of  restorations  of  me- 


130 


Devotees  and  their  Shrines. 


dieval  buildings  were  carried  on,  doubtless  contributing  a  great  deal 
to  the  restricting  of  artistic  creativeness.  Between  1850-70  this 
archeological  correctness  gave  way  to  a  new  spirit  of  design,  that  of 
adapting  the   Gothic   forms   and   principles   to  modern   requirements. 


Fig.  8.     Fitzwilliam  Museum,  Cambridge. 

This  movement  is  called  the  Victorian  Gothic.  Scott,  Street,  Water- 
house,  Burges  and  others  were  the  architects  of  many  buildings  in  the 
style;  chief  in  size  and  cost  and  also  the  most  successful  of  which  was 
the  Parliament  Houses,  at  Westminster  (Fig.  9),  begun  in  1839  by 


Fig.  9.     Parliament  Houses,  Westminster. 

Sir  Charles  Barry  (1789-1850)  but  more  in  the  Perpendicular  Gothic 
than  the  Victorian.  It  is  imposing  in  its  simple  masses,  its  details  are 
refined  and  carefully  studied,  but  too  minute,  and  the  plan  is  some- 
what confused.     Other  monuments  are  the  Assize  Courts,  at  Man- 


A  Handbook  of  Utah  Art.  131 

Chester;  the  New  Muesum  at  Oxford,  and  the  New  Law  Courts,  Lon- 
don, by  Street.  Most  of  the  buildings  of  this  period  give  the  impres- 
sion that  the  architects  were  not  wholly  masters  of  the  style ;  that  the 
style  itself  was  not  entirely  suitable  to  adaptation  to  modern  secular 
needs.  The  Natural  History  Museum  at  London,  by  Waterhouse 
(1789)  is  a  study  in  Romanesque,  but  otherwise  similar  to  the  other 
examples  mentioned.  The  church  architecture  is  characterized  by 
almost  unfailing  good  taste  and  dignity,  and  simplicity  of  design. 

In  the  last  thirty  years  there  has  been  quite  a  general  return  to  the 
Renaissance  principles,  and  the  results  are  seen  in  a  great  variety  of 
buildings,  in  which  the  Renaissance  forms  have  been  treated  with  in- 
creasing freedom  and  good  taste.  The  Albert  Memorial  Hall  (1863) 
is  a  very  early  example  of  this  movement,  and  other  later  buildings 
are  the  Lnperial  Institute,  by  Colcutt;  the  Oxford  Town  Hall,  and 
the  new  South  Kensington  Museum,  by  Webb. 

In  domestic  architecture  the  ''Queen  Anne"  style  was  popular  for 
a  while ;  based  on  the  brick  architecture  of  Queen  Anne's  time,  a  rever- 
sion from  the  excessive  use  of  stucco  and  plaster,  to  red  brick,  windows 
of  small  panes  of  glass,  and  to  slate  roofs.  It  is  in  residences  that  the 
most  advance  has  been  made  in  the  last  few  years,  although  there 
have  been  many  large  mansions  and  schools  designed  in  a  free  1\i(lor 
or  Collegiate  Gothic. 

At  the  present  time  British  architecture  is  still  inferior  to  the 
French,  in  monumental  feeling,  and  in  freedom  and  richness  of  detail, 
but  it  is  superior  in  the  picturesque  handling  and  variation  of  masses. 


ARCHITECTURE  IN  THE  UNITED  STATES. 

The  Formative  Period.  The  American  colonists  brought  the 
tastes  and  customs  of  their  mother  countries,  of  civilizations  long  estab- 
lished, to  the  New  World,  a  country  of  no  civilization  and  no  developed 
resources.  All  energy  of  thought  and  labor  was  necessarily  given  to 
subduing  nature — to  the  detriment  of  education  and  the  finer  arts. 
With  the  successful  conquest,  however,  and  the  increase  of  commerce 
and  wealth,  there  came  some  leisure,  and  with  it  the  fine  arts  appeared 
in  a  few  spots  peculiarly  favorable,  but  governed  of  course  by  the  taste 
and  traditions  of  the  mother  countries.  It  was  from  England,  with 
whom  the  colonies  had  the  most  commerce,  that  the  new  arrivals  and 
influences  came,  and  to  whom  the  colonies  looked  for  inspiration  and 
standards  of  education  and  living.       It  was  only  with  political  and 


132 


Devotees  and  their  Shrines. 


commercial  independence,  with  high  national  culture,  and  development 
of  natural  resources,  that  the  arts  began  a  really  national  growth,  yet 
even  at  the  present  time,  in  this  twentieth  century,  architecture  has  not 
developed  into  a  wholly  independent  national  style. 

The  Colonial  or  Georgian  Period.  Very  few  of  the  seven- 
teenth century  buildings  were  of  stone;  in  the  Southern  and  Dutch 
colonies  houses  were  often  of  brick,  imported  from  Europe ;  while  the 
New  England  houses,  especially,  were  made  of  wood.  This  wide- 
spread use  of  wood  had  much 
to  do  in  determining  the  form 
and  style  of  the  architecture  of 
the  colonies.  Of  the  very  early 
examples,  as  for  instance  the 
Town  Hall,  Williamsburg,  Va., 
and  St.  Michael's,  Charleston, 
both  attributed  to  Wren,  and 
many  manor  houses  and 
churches  in  Virginia,  the  most 
that  can  be  said  is  that  they  are 
simple  and  pleasing  in  propor- 
tions, but  without  architectural 
elegance,  while  those  in  New 
England  are  even  simpler. 

Beginning  about  1725,  and 
continuing  to  the  Revolutionary 
War  the  rapid  increase  of  popu- 
lation and  wealth  caused  a  great 
advance  in  the  architecture,  with 
the  development  of  a  style  based 
on  English  architecture  of  the 
reigns  of  Queen  Anne  (1703- 
14);  George  I  (1714-27),  and 


Christ  Church,  Philadelphia. 


George  II  (1714-60)  ;  but  freely  modified  on  account  of  the  general 
use  of  wood,  and  because  of  the  scarcity  of  trained  architects.  This 
style  period  is  called  the  Colonial,  or  Georgian,  although  "Colonial"  is 
technically  the  better  word.  The  interiors  reflect  the  good  tastes  of 
the  time,  and  contain  much  wood  work  of  artistic  quality,  imported 
from  England.  Church  architecture  of  the  time  was  influenced  by  the 
Wren  (1632-1723)  and  Gibbs  (1683-1754)  types  of  church,  and  the 
steeples  are  especially  interesting.  Examples  are :  Old  South  Church, 
Boston;  St.  Paul's,  New  York,  of  stone  (1764),  and  Christ  Church, 
Philadelphia   (1727-35,  Fig.  10),  by  Dr.  Kearsley.     The  cut  shows 


A  Handbook  of  Utah  Art. 


133 


the  service  or  chapel  end,  hghted  by  a  "Pallachian  motive"  window. 
Note  the  clear  expression  of  galleries  on  the  interior  by  the  two  stories 
of  windows  on  the  side  walls.  The  church  is  in  general,  of  the  same 
feeling  and  character  as  St.  Martin's-in-the-Field,  London  (1726),  by 
Gibbs,  and  is  one  of  many  equally  worthy  of  note.  The  interior  of 
Christ  Church,  Hartford  (Fig.  11),  differs  from  the  majority  of  church 
interiors  in  its  segmental  barrel  vault  and  in  its  general  spirit,  which, 
although  Colonial,  contains  considerable  classic  Renaissance  feeling. 
The  slenderness  of  the  columns  and  pilasters,  without  giving  a  sense 

of  weakness,  adds  to  the 
Colonial  effect,  which  in  all 
its  branches  is  characterized 
by  naive  simplicity,  and  slen- 
der, refined  and  delicate 
detail. 

In  dwellings  the  varying 
tastes  of  the  different  colonies 
are  very  evident.     Virginia 

^^^^;^^gF  ^^^\     r- ^^^"^      and     Maryland     abound     in 

l^^^^-^^Xi  '^-^  -'__  ~^^  brick  manor  houses,  set  in 
H^'^^'^^S';  1  id .:  _  ._  ^  ^^^ — __  .,^  extensivegrounds,  and  whose 
— ^^- ■^""~'""^'  -^  ''""^' ' — -^  interior  finish  is  often  elab- 
orate and  skilfully  done.  The 
Harwood  and  Hammond 
houses  at  Annapolis,  Md.  (1770),  and  Westover  (1737),  Carter's 
Grove  (1737),  and  the  Shirley  House  (1700,  Fig.  12)  in  Virginia, 
are  examples.  Shirley  House,  as  is  seen  from  the  date,  is  very  early, 
yet  it  is  Colonial  in  spirit  and  form,  for  the  simple  rectangular  plan 
with  its  regular  arrangement  of  windows,  the  straightforward  cornice 
and  roof  with  its  plain  dormers,  the  large  chimneys,  and  the  air  of 
frankness  about  it  all,  are  typically  of  the  "period."  The  two-storied 
porch  was  a  device  seldom  used ;  generally  the  portico  was  made  part  of 
a  colossal  order.  Note  the  naive  manner  of  placing  the  cellar  entrance 
against  the  side  porch.  Many  of  the  Southern  Colonial  houses  had 
rambling  wings  on  either  side  of  the  main  or  central  part  and  typical 
verandas,  as  distinguished  from  the  more  compact  New  England 
houses  which  In  plan  were  often  simple  rectangles,  and  which  lost 
something  of  stateliness  from  less  commodious  settings  and  approaches. 
The  influence  of  the  Brothers  Adam  type  of  decoration  and  furniture, 
and  of  the  Sheraton  furniture  is  seen  in  the  quaint  and  often  charming 
variations  of  classic  motives.  The  Sherburne  House,  Portsmouth 
(1714)  ;  the  Rumford  House,  North  Woburn,  Mass.,  and  the  Craigie 


Fig.  11. 


Interior  of  Christ  Church, 
Hartford. 


134 


Dci'otecs  and  their  Shrines. 


or  Longfellow  House,  at  Cambridge,  Mass.  (1757,  Fig.  13),  are  typ- 
ical examples.  Roofs  were  generally  either  gambrel  or  hipped,  with 
the  central  part  often  made  nearly  flat  and  balustraded,  while  door- 
ways often  showed  notable  elegance  and  refinement  of  design. 

Of  public  buildings,  the  Colonial  has  little  to  show,  there  were  no 
large  cities,  for  New  York,  Philadelphia  and  Boston  were  still  villages ; 
a  little  overgrown  perhaps  but  still  rural.  The  public  buildings — they 
were  mostly  town  halls  and  court  houses — were  small  and  inexpensive. 
The  Old  State  House  and  Faneuil  Hall,  Boston ;  the  Town  Hall,  New- 
port, R.  I.,  and  the  In- 
dependence Hall,  Phila- 
delphia, are  not  striking 
architecturally. 

The  Early  Re- 
publican Period.  Fol- 
lowing the  Revolution 
the  need  of  buildings 
for  state  and  national 
government,  led  to  a 
more  monumental  phase 
of  building  in  stone, 
in  which  colonnades, 
domes  and  cupolas  or 
bell  towers  were  regard- 
ed as  indispensable  fea- 
tures of  civic  architec- 
ture. Churches  contin- 
ued in  the  Wren-Gibbs 
style,  but  with  greater 
classical  correctness;  of  which  there  are  several  examples  in  Con- 
necticut. In  domestic  architecture  there  was  some  decline  in  the  re- 
finement of  details,  except  in  some  cases  where  the  French  influence 
of  the  Louis  XVI  style  showed  in  delicate  stucco  work  and  interior 
decoration.  This  same  French  influence  shows  verv  strongly  in  the 
New  York  City  Hall  (1803-12,  by  McComb  and  Mangin,  Fig.  14) 
in  the  delicate  richness  of  the  Renaissance  forms  used — a  characteristic 
of  the  Louis  XVI  period.  The  original  Capitol  at  Washington,  that 
is,  the  central  part  of  the  present  building  (by  Thornton,  Hallet  and 
Latrobe,  1793-1830);  the  State  House,  Boston  (1795),  by  Bulfinch, 
and  the  University  of  Virginia  (1817,  restored  1895),  by  Thomas 
Jefferson, — which  was,  by  the  way,  the  first  American  University  to 
adopt  a  definite  plan  for  architectural  growth, — are  the  most  important 


l'""'  ' 

^^M^.. 

It  wm 

ijiil.-'     ^ 

L  ,  ^/W'  ^ff-  B 

t 

Fig.  12.     Shirley  House,  Va. 
(Copyright,  Detroit  Publishing  Co.) 


A  Handbook  of  Utah  Art. 


135 


examples.  The  Library  of  the  Univ.  of  Virginia  (Fig.  15),  the 
"center"  of  the  group  of  buildings,  which  *'were  to  be  models  in  the 
forms  of  present  antiquity,"  shows  the  classic  style  which  Jefferson 
decided  was  most  appropriate,  and  was  inspired  by  the  Pantheon,  at 
Rome  (second  century,  A.  D.).  But  the  use  of  windows  and  brick 
walls,  and  the  smaller  scale  of  the  building  with  its  consequently  dif- 
ferent treatment,  gives  it  an  appearance  and  style  not  wholly  Roman. 

The  Revivals.  The  influence  of  the  European  Revivals  began 
to  appear  late  in  the  eighteenth  century,  and  reached  its  culmination 
about  1830-40,  during  which  it  affected  all  types  of  buildings;  pro- 
duced numerous  attempts  in  the  brick  and  wood  domestic  architecture, 
but  left  its  impress  most  strongly  on  Federal  architecture  and  govern- 
mental buildings  of  the  states  and  cities.     One  of  the  first  examples 


Fig.  13.     Craigie  (Longfellow)  House,  Cambridge. 

was  the  White  House,  or  Executive  Mansion,  at  Washington,  by 
Hoban  (1792),  containing  both  the  Renaissance  and  Roman  feeling, 
and  recalling  the  large  English  country  houses  of  the  times.  The 
Greek  Revival  began  to  replace  Roman  types  as  early  as  about  1820 
and  thereafter  dominated  public  architecture  of  the  country  for  nearly 
thirty  years.  The  Treasury  and  Patent  Oflice  at  Washington,  the 
Philadelphia  Mint,  the  Boston  Custom  House,  the  Old  Custom  House 
and  Sub-treasury  (Fig.  16),  at  New  York  City;  a  number  of  state 
capitols ;  and  the  Marine  Exchange  and  Girard  College  at  Philadelphia 
are  conspicuous  examples  of  variable  success  in  the  style.  The  Sub- 
treasury  is  rectangular  in  plan,  and  of  straightforward  design,  im- 
pressive in  its  well  proportioned  simplicity,  and  without  ornament — 
an  omission  in  keeping  with  the  building's  character, — while  the  low 


136 


Devotees  and  their  Shrines. 


pitched  pediment,  entablature  and  columns  are  typically  Greek.  The 
buildings  of  the  period,  although  well  built,  lacked  the  free  mastery  of 
adaptation  of  the  Greek  forms  that  was  possible  with  the  Roman,  most 
probably  because  the  Roman  architecture  itself  was  flexible  and  of 
universal  application,  covering  a  multitude  of  buildings  with  almost 
as  many  combinations  of  architectural  forms.  But  even  with  its  un- 
adaptability,  the  Greek  Revival  produced  on  the  whole  more  satisfac- 
tory results  than  in  either  England  or  Germany.  The  Capitol  at 
Washington  was  much  enlarged  during  this  Revival  period,  by  the 
addition  of  end  wings  with  five  Corinthian  porticos,  in  the  Roman 
style  rather  than  the  Greek,  while  the  Dome,  by  Walter,  added  in  1858- 
73  as  an  after-thought,  and  made  of  cast  iron  instead  of  stone — because 


u;.iiyyj 


!lf 


Fig.  14.     New  York  City  Hall. 
(Copyright,  Detroit  Publishing  Co.) 

of  weak  foundations, — is  of  successful  and  impressive  design.  It  gives 
a  noble  aspect  to  the  building,  and  by  its  domination  ties  the  three 
pavilions  together  into  a  single  comf>osition — a  sort  of  decorative  and 
impressive  pedestal  or  base  course  leading  up  to  and  helping  the 
dome  itself. 

The  War  Period.  From  1850-1876  political  and  industrial  ac- 
tivity occupied  the  public  mind  to  the  detriment  of  the  finer  arts.  After 
the  Civil  War  came  a  period  of  great  development  of  the  mining  re- 
sources and  manufactures, — a  period  of  widespread  commercial  activ- 
ity, but  of  little  artistic  feeling.  The  civic  and  church  buildings  of  the 
time  show  this,  among  which  are  the  Capitol  at  Albany,  and  the 
Municipal  Building  at  Philadelphia,  both  full  of  fundamental  errors  of 
planning  and  detail.  The  greatest  monument  of  this  period,  subor- 
dinate only  to  the  Capitol  at  Washington,  whose  completion  was  con- 


A  Handbook  of  Utah  Art. 


137 


temporary  with  it,  was  St.  Patrick's  Cathedral,  New  York  City  (1858- 
86,  by  Renwick,  Fig.  17),  a  Gothic  church,  which,  if  somewhat  cokl 
and  mechanical  in  detail,  is  of  pleasing  general  design.  The  west  front 
is  particularly  successful,  and  the  interior  shows  two  distinct  European 
influences,  English  in  the  lierne  ceiling  vault,  and  in  the  multiplicity  of 
mouldings  on  the  piers  and  pier  arches,  and  the  French  in  the  polygonal 
ending  of  the  apse  and  in  the  window  tracery.  Trinity  Church  (1843, 
by  R.  M.  Upjohn)  and  Grace  Church  (1840,  by  Renwick),  in  New 
York  City,  although  early,  are  examples  of  this  modern  Gothic,  while 
among  the  last  of  the  civic  buildings  w^ere  the  State  Capitol  at  Hart- 
ford, Conn.,  by  Upjohn,  and  the  Fine  Arts  Museum,  at  Boston.     Of 

the  Federal  buildings,  by  Mul- 
let, most  of  which  were  unin- 
spired, the  New  York  and  Bos- 
ton Postoffices,  and  the  State, 
Army  and  Navy  Department 
Building,  at  Washington,  are 
examples,  all  of  them  of  me- 
chanical design. 

The  Modern  Movement. 
In  the  years  between  1870-1880 
there  were  many  things  to  stim- 
ulate the  growth  of  artistic  taste 
and  of  interest  in  building.  The 
great  fire  in  Chicago  (1871), 
and  in  Boston  (1872),  opened  the  way  for  many  new  buildings.  The 
sound  revival  of  business  after  the  disastrous  panic  of  1873,  and  the 
rapidly  increasing  travel  to  Europe,  began  to  influence  the  artistic  spirit, 
as  did  the  establishment  of  Schools  of  Architecture  at  Boston  (1866) 
and  other  cities,  and  the  opening  of  many  public  art  museums.  In 
architecture  the  personal  influence  of  two  men,  trained  in  the  Paris 
Ecole  des  Beaux  Arts,  was  very  noticeable,  that  of  R.  M.  Hunt  (1827- 
95)  and  H.  H.  Richardson  (1828-86),  and  with  them  others  of  less 
fame,  but  of  high  ideals.  The  many  works  of  Richardson,  in  a  free 
version  of  French  Romanesque,  were  of  powerful  and  personal  design, 
so  much  so  that,  although  creating  widespread  interest  and  many  fol- 
lowers in  the  profession,  they  did  not  touch  a  sufficiently  repsonsive 
chord,  and  the  movement  lapsed  soon  after  Richardson's  death.  Trin- 
ity Church,  Boston  (Fig.  18),  his  earliest  important  work,  shows  much 
of  his  manner  and  the  well  balanced  force  of  his  designs.  Throughout 
all  his  work  there  is  striking  contrast  between  massive  stoniness  and 
delicate  carved  detail,  which  by  their  very  contrast  accentuate  each 
other.     In  the  Centennial  Exhibition  at  Philadelphia  (1876),  American 


Fig.  15.     Library  University  of  Virginia. 


138 


Devotees  and  their  Shrines. 


people  were,  for  the  first  time  on  their  own  soil,  brought  into  direct 
contact  with  the  art  and  manufactures  of  Europe.  The  result  of  the 
exhibition  was  immediate  and  affected  nearly  every  branch  of  en- 
deavor; caused  students  to  throng  to  the  centers  of  Old  World  art; 
raised  the  standards  of  artistic  excellence  at  home,  and  helped  the  de- 
velopment of  important  and  widespread  art  industries,.  Another  in- 
fluence in  the  same  direction  was  added  by  the  Columbian  Exhibition 
at  Chicago  in  1893,  in  the  Renaissance  style,  but  thi  stime  the  effect  was 
chiefly  upon  architecture,  and  the  Renaissance  movement  thus  popu- 
larized has  been  gener- 
ally in  use  since.  The 
training  of  increasing 
numbers  of  Americans 
in  the  French  Architec- 
tural Schools  and  under 
French  influence  has  led 
to  s.  growing  apprecia- 
tion of  monumental  de- 
sign in  planning,  com- 
position and  setting  of 
buildings,  rather  than  in 
the  acceptance  and  im- 
itation of  French  mo- 
tives and  models.  An- 
other growing  modern 
tendency  is  ecclecticism, 
or  the  free  use  and 
choice  of  styles,  which 
choice  and  adaptation, 
however,  is  most  often 
directed  by  the  designer  to  the  advantage  of  the  work  in  hand. 

In  commercial  buildings  there  has  been  a  development  of  new 
types  of  excessive  height,  due  to  the  modern  demand  for  fireproof  con- 
struction; for  well  lighted  buildings;  for  elevator  service,  and  for 
concentration  of  business  over  limited  ground  area — all  made  possible 
by  the  modern  use  of  structural  steel  and  reinforced  concrete.  To 
render  a  building  of  many  stories  pleasing  to  the  eye,  especially  when 
built  on  an  irregular  site,  is  a  difficult  problem,  to  which  as  yet  there 
has  not  been  a  wholly  successful  solution.  There  have  been,  however, 
some  notable  achievements  in  this  line,  in  most  of  which  there  has 
been  clearly  shown  the  principle  of  treating  the  lower  part  of  the 
building  as  a  well  marked  pedestal  or  base,  and  the  top  stories  as  a 


<j^ 

i 

1 
1 

i 

! 
1 

1 

1 

Fig.  16.     Old  Sub-treasury,  New  York  City. 
(Copyright,  Detroit  Publishing  Co.) 


A  Handbook  of  Utah  Art. 


139 


rather  ornate  crown  or  capital,  with  the  intervenino-  stories  of  com- 
parative simph'city — the  whole  su^j^gestino^  a  vertical  construction  or 
decorative  member  with  its  base,  die  or  shaft,  and  crownin^^  cap.  In 
some  instances  the  interior  steel  skeleton  is  expressed  on  the  exterior 
by  slender  vertical  piers  extending  from  basement  to  roof,  as  is  often 
done  in  the  Middle  West,  while  in  the  East  the  walls  are  generallv 
treated  as  thoujoh  of  masonry.  Of  the  style  forms  used — and  there 
are  modern  buildings  in  all  the  historic  styles — the  tendency  is,  with 
very  few  exceptions,  to  use  these  forms  in  a  decorative  way  onlv,  as  a 
dress  for  the  modern  frame  within.     This  subordination  of  style  mo- 


Fig.  \7.     Interior  cf  St.  Patrick's  Cathedral,  New  York  City. 

tives  and  details  and  gradual  accenting  of  the  structural  lines,  with  the 
tendency  towards  expression  in  two  or  three  forms,  marks  the  begin- 
ning of  a  national  style. 

It  is  in  Residential  work  that  architecture  has  its  most  varied  and 
typically  American  treatment.  The  frankness  and  the  artistic  feeling 
with  which  the  demands  of  American  climate  and  modern  domestic 
life  have  been  treated  have  resulted  in  the  logical  expression  of  interior 
arrangement  in  the  exterior,  in  pleasing  and  often  picturesque  manner. 
The  disapearance  of  the  parlor,  the  increased  importance  of  the  living 
room,  the  staircase  hall,  and  the  typical  veranda,  have  been  factors  in 
this  modern  evolution.  Materials  of  construction  have  caused  varia- 
tions of  shape  and  style  in  different  sections  of  the  country;  in  the 
East,  Middle  West,  and  on  the  Pacific  Coast,  the  use  of  wood  pre- 
dominates, while  throughout  the  Rocky  Mountain  region  the  building 


140 


Devotees  and  their  Shrines. 


material  is  brick.  In  the  last  few  years  hollow  tile  and  concrete  have 
come  into  extensive  use,  while  in  the  Pacific  states  the  stucco  ''Mission" 
style  is  prevalent;  derived  from  the  numerous  missions,  scattered 
churches,  and  the  few  secular  building's,  built,  under  Spanish  dominion, 
mainly  between  1770-1800  and  influenced  by  the  Churrigueresque 
period  of  Spanish  Renaissance.  The  detailed  style  treatment  of  resi- 
dences is  very  variable,  most  of  them  cannot  be  called  anything  but 
American  even  while  based  on  and  using  many  masses  and  forms  of 
historic  styles.  The  larger  country  houses  generally  adhere  closely  to 
some  particular  building  or  phase  of  a  style  period,  and  in  interiors, 

historic  accuracy  down  to  minute 
details  is  commonly  desired  and 
often  in  as  many  different  styles 
as  there  are  suites  of  rooms — an 
arrangement  giving  a  refreshing 
variety  and  change  if  well  con- 
ceived and  harmoniously  carried 
out,  but  unsuccessful  in  the  smaller 
houses,  where  consistency  is  need- 
ed to  make  an  impressive  and  de- 
lightful whole. 

Examples  of  Recent  Arch- 
itecture. American  architecture 
has  generally  been  less  successful 
in  public,  administrative,  and  ec- 
clesiastical work  than  in  the  com- 
mercial and  residential  types.  In 
the  semi-public  architecture,  such 
as  hotels,  theatres,  clubs  and 
libraries,  there  are  many  note- 
worthy examples  of  successful  de- 
the  Ponce  de  Leon  Hotel,  at  St. 
Augustine,  Fla.,  in  a  free  version  of  the  Plateresque  or  Early  Spanish 
Renaissance;  the  Auditorium  Theatre  at  Chicago;  and  the  Madison 
Square  Garden  and  the  Casino  Theatre  at  New  York  City ;  all  erected 
1880-90.  Of  later  examples  the  Century,  Metropolitan  and  University 
Clubs  at  New  York,  and  the  Boston  Public  Library  (all  by  McKim, 
Mead  and  White)  ;  the  Carnegie  Library  at  Pittsburgh ;  the  Congres- 
sional Library  at  Washington;  the  Minnesota  State  Capitol  at  St.  Paul 
(by  Cass  Gilbert),  and  the  New  York  Public  Library  (by  Carrere  and 
Hastings,  Fig.  19),  show  in  varying  degrees  the  increasing  capacity  of 
American  architects  for  monumental  design.  The  New  York  Public 
Library  leans  a  little  towards  the  classic  French  Renaissance  in  exterior 


Fig.  18.     Trinity  Church,  Boston, 
sign;  among  the  early  ones  being 


A  Handbook  of  Utah  Art. 


141 


and  interior  treatment,  but  is  at  the  same  time  American.  There  has 
been  much* architectural  activity  in  educational  buildings  the  last  fifteen 
years;  one  of  the  first  important  undertakings  being  that  of  the  Uni- 
versity of  California,  which  in  1898,  after  an  international  competi- 
tion, accepted  the  design  of  E.  Benard  of  Paris  for  its  magnificent 
monumental  group  plan.  In  New  York  City  the  Law  Library  of 
Columbia  University,  a  strikingly  noble  and  impressive  building  in 
neo-Greek,  with  other  of  the  University  Buildings,  and  the  New  York 
University  group,  all  by  McKim,  Mead  and  White,  and  the  interesting 
neo-Gothic  group  of  the  New  York  City  College,  by  G.  B.  Post;  the 
project  for  the  Washington  University  at  St.  Louis,  and  those  of  many 
other  imiversities  and  colleges  are  worthy  additions  to  the  rapidly 
growing  list.       Among  them  might  be  added   the   improvement   in 


Fig.  19.     New  York  Public  Library. 
(Copyright,  Detroit  Publishing  Co.) 

process  at  the  Military  Ccademy  at  West  Point,  by  Cram,  Goodhue 
and  Ferguson,  and  at  the  Naval  Academy  at  Annapolis,  by  Ernest 
Flagg.  In  ecclesiastical  architecture  the  preference  for  small  parish 
churches,  treated  more  as  audience  rooms  than  rigid  places  of  worship, 
has  retarded  or  prevented  the  building  of  many  monumental  church 
buildings.  Yet  there  are  some  such  monuments  of  great  dignity  and 
beauty,  in  both  the  neo-classic  and  the  neo-Gothic  style.  Among  the 
latter,  one  of  the  most  conspicuous  and  successful  is  St.  Thomas' 
Cathedral  at  New  York  City  (by  Cram,  Goodhue  and  Ferguson,  Fig. 
20),  in  which  the  utiliation  restrictions  of  lot  size,  seating  requirements 
and  interior  proportions,  etc.,  played  a  very  important  role  in  deter- 
mining the  final  plan.  The  Cathedral  shows  much  French  influence, 
in  the  plan  arrangement,  in  general  and  detailed  interior  and  exterior 
treatment  and  forms;  and  some  English  in  the  square  ending  of  the 
aspe,  and  the  absence  of  flying  buttresses.     It  is  a  good  example  of 


142 


Devotees  and  their  Shrines. 


well-governed  ecclecticism  in  which  harmony  of  effect  and  spirit,  and 
honesty  of  materials  and  construction  were  deemed  essential.  Mention 
should  be  made  of  many  recent  Federal  buildings  (court  houses,  post 
offices  and  custom  houses),  by  various  architects  in  competition.  The 
New  York  Custom  House,  by  Cass  Gilbert,  and  buildings  in  Washing- 
ton, Indianapolis,  Cleveland,  and 
other  cities,  are  worthy  of  men- 
tion. The  tendency  to  award  the 
designing  of  all  classes  of  impor- 
tant public  buildings  by  competi- 
t'on  instead  of  by  personal  or  po- 
litical favor,  has  resulted  in  a 
marked  improvement  in  the  quality 
of  American  architecture. 

The  tendencies  underlying  the 
apparent  confusion  of  styles,  in 
modern  architecture,  are  still 
somewhat  hidden.  But  the  use  of 
new  materials  and  methods  of  con- 
struction; increased  attention  to 
details,  and  the  growing  sense  of 
monumental  planning,  have  left  an 
impress  on  modern  planning,  pro- 
portions and  artistic  composition, 
irrespective  of  the  styles  used. 
This  new  movement  with  its  not 
wholly  successful  efforts  to  adapt 
or  evolve  appropriate  style  motives 
for  the  developing  structural 
forms,  and  the  endeavor  to  convey  a  consistent  impression  of  character 
in  each  type  of  building,  is  in  a  state  of  transition,  and  open  to  criticism 
in  several  respects,  but  it  appears  to  be  full  of  life  and  promise  for 
the  future. 

ENSIGN  WARD  CHAPEL. 

The  accompanying  design  for  a  meeting  house,  Sunday  school, 
and  amusement  hall,  has  been  prepared  for  a  corner  site  of  165  feet 
square.  The  auditorium  and  amusement  hall  are  separate,  but  are 
connected  by  an  entrance  common  to  both.  Sunday  school  class  rooms 
occupy  the  lower  story  under  each  building.  The  auditorium  is  placed 
farthest  away  from  the  car  line,  and  the  main  entrance  is  interposed 
to  eliminate  as  much  as  possible  the  noise  of  passing  cars.  The  design 
of  the  auditorium  has  departed  from  the  customary,  and  in  most  in- 


Fig.  20.      St.  Thomas'   Cathedral, 

New  York  City. 
(Copyright,  Detroit  Publishing  Co.) 


A  Handbook  of  Utah  Art. 


stances  objectionable  method  of  placing  the  choir  either  in  front  or 
behind  the  rostrum,  by  arranging  the  choir  in  one  of  the  symmetrical 
bays  at  the  side  of  the  audience,  raised  sufficiently  above  the  main  floor 
for  sound  projection.  The  natural  lighting  is  arranged  so  that  no 
offending  ray  of  light  will  be  directly  in  the  eyes  of  either  speaker  or 
audience,  and  during  the  evenings,  no  electric  light  bulb  will  be  visible 
in  any  part  of  the  building.  Separate  rooms  with  a  vault  are  provided 
for  the  bishopric,  the  Sunday  school  superintendent  and  secretary,  a 
wash  room  for  those  administering  the  sacrament  and  rooms  for  the 
choir.  Entrance  to  the  rostrum  can  be  obtained  from  the  exterior  of 
the  building.  A  side  entrance  close  to  the  rosturm  has  been  provided 
for  the  use  of  funerals.  The  amusement  hall — the  building  to  the  right 
— has  a  floor  area  of  2,600  feet.  The  stage  is  30  feet  by  21  feet,  and  is 
provided  with  a  rigging  loft.  Men's  and  women's  retiring  rooms  are 
provided  with  every  convenience.  A  lantern  booth  is  arranged  for 
picture  displays.  A  wide  stair  adjacent  to  both  auditorium  and  amuse- 
ment hall  provides  means  of  communication  between  the  upper  and 
lower  stories  where  the  class  rooms  are  arranged  in  varying  dimensions. 
The  primary  and  kindergarten  rooms  are  close  to  the  main  entrance, 
will  face  due  south,  and  are  thus  provided  with  all  the  sunlight  required. 
The  Relief  Society  room  is  separate  from  the  class  rooms,  is  38  feet  by 
17  feet,  has  kitchen  and  storage  rooms  adjoining.  The  class  rooms 
near  the  Relief  Society  room  are  so  arranged  that  by  means  of  folding 
doors,  one  large  room  57  feet  by  23  feet  can  be  used  as  a  banqueting 
hall.  The  building  throughout  will  be  warmed  and  ventilated  by  means 
of  a  Sturtevant  fan  in  the  basement  and  inlets  for  the  warmed  fresh  air 
under  the  seats.  The  exterior  of  the  building  will  be  finished  with 
white  brick.  The  architects  of  the  building,  Monson  and  Price,  have 
each  had  more  than  twenty  years  careful  training  in  designing. 


144 


Devotees  and  their  Shrines. 


ARTISTIC  GARDENING. 

LEILA  MERRILL  ALLEN. 

The  best  time  to  plan  a  flower  garden  is  in  winter.  To  get  the 
ensemble  draw  a  map  to  a  scale  of  your  home  grounds.  Lay  out 
walks,  lawn,  flower  beds  and  garden.  It  is  easier  to  change  your  plan 
than  to  change  your  garden.  Every  garden  should  have  a  theme  to 
which  all  other  parts  relate.  This  may  be  the  residence,  walk,  or  perhaps 
a  summer  house.  The  theme  of  my  home  is  the  living  porch.  Through 
it  I  have  sought  to  unify  the  life  in  the  home  and  the  life  in  the  garden. 
Around  this  porch  are  grouped  the  growing  things  and  from  it  radiate 
the  paths. 

Lawn  and  Shrubs. 

Before  planting  the  lawn,  dig  deeply  and  free  the  earth  from 
stones.  Keep  the  center  open,  massing  the  flowers  at  the  boundaries 
against  the  sheds  and  between  the  walks.  A  small  lawn  will  appear 
much  larger  if  not  "cluttered"  with  rose  bushes  and  flower  beds.  Shrubs 
are  a  necessary  part  of  a  well  balanced  garden,  and  with  careful  selec- 
tion are  extremely  decorative.  The  althea  (Rose  of  Sharon),  blooms 
through  August  and  September.^  For  early  flowering  the  snow  ball,^ 
lilac,  syringa,  and  double  flowering  almond,^  are  among  the  most 
popular.     The  spirea,*  a  low  shrub  with  delicate  foliage,  is  used  with 

^Alba  Plena  (double  white  crimson  center);  Duchess  de  Brabant  (double 
dark  red);Violacea  Plena  (double  rosy  white);  Jeanne  d'Arc  (double  pure 
white).  2Arborescens  Grandiflora.  sPrunus  Japonica  and  the  Pyrus  Japonicus 
(Japan  Quince).     '*Spirea  Van  Houttei  and  the  new  crimson  WalluflF. 


A  Handbook  of  Utah  Art. 


145 


HULSK    WliKKI 


WAS   i;uK>; 


good  effect.  By  all  means  have  a  rose  garden.  The  east  or  south 
exposure  is  preferable  for  planting.  Make  a  map  of  your  rose  plot  with 
the  name,  height  and  color  of  each  rose.  There  are  hundreds  to  choose 
from.  The  new  roses  will  bloom  from  June  to  Thanksgiving  day."^ 
Buy  the  small  bushes  in  large  quantities,  at  small  cost,  and  set  them  in 
the  kitchen  garden;  as  they  bloom  eliminate  those  you  care  least  for, 
and  next  spring  they  will  be  large  enough  to  be  transplanted  to  the 
rose  garden.  It  is  a  mistake  to  plant  between  rose  bushes  which  need 
hoe  culture  from  the  first.  The  new  everblooming  climbing  roses  will 
often  glorify  a  very  inartistic  back  yard  with  its  unattractive  fences, 
sheds,  and  outlooks.  Even  an  old  treep  stump  offers  support  for  a 
bower  of  roses. 

Flower  Beds  and  Borders. 

Through  flower  beds  and  borders  you  may  show  your  individ- 
uality. The  amateur  should  begin  simply.  A  few  varieties  well 
massed  will  be  most  effective.  Intimacy  with  plant  life  is  not  alone 
for  the  botanist;  learn  the  names  of  your  plants,  both  common  and 
scientific,  and  use  them.  Choose  your  color  schemes,  note  the  light  and 
shade  of  your  beds  and  borders,  using  the  sunny  places  for  your  bright- 


^Hardy  everblooming  climbing  roses:  Killarney,  pink;  White  Maman 
Cochet;  Clotelae  Soupert,  an  ivory-white  color,  shading  towards  the  center  to 
silvery.  Hardy  Hybred  Perpetual  Roses:  General  Jacquenniot;  Glory  of  the 
Exposition    of   Brussels;    Prince    Camille   de    Rohan,   crimson. 


146 


Devotees  and  their  Shrines. 


Mrs.  Allen's  rocker}"  and  cactus  garden.         A  long  sweep  of  unniterrupted  lawn. 

est  flowers.  Every  garden  has  its  own  particular  charm.  The  old 
fashioned  garden  touches  our  heart  as  no  great  gardens  can.  In  the 
little  garden  about  Aunt  Melissa's  cottage  grew  the  rose,  athea,  lilac, 
snow  ball,  and  peony.  The  borders  were  the  sweet  mignonette,  lark- 
spurs, sweet  rockets,  snapdragons,  bleeding  hearts,  bachelor  buttons, 
pinks,  marigolds  and  sweet  williams;  each  seemed  trying  to  outdo  the 
other  in  bright  color.  The  fence  was  hidden  with  morning-glories  and 
hollyhocks.  Jhis  old  garden  grew  around  the  first  house  to  be  plas- 
tered in  Utah,  and  was  built  of  adobe  in  1848  by  Alfred  Lambson. 

Peonies  and  Lilies. 


The  peony  is  the  aristocrat  of  the  garden,  almost  rivaling  the  rose 
in  perfume  and  brilliancy  of  color.  Any  or  all  of  seventeen  hardy 
varieties  are  wonderfully  effective  planted  either  in  mass  or  groups. 
The  Lilium  Superbum,  I  plant  between  the  peonies.  When  the  peonies 
cease  blooming  the  spikes  of  coral  tinted  bells  rise  high  above  the  dark 
green  foliage  and  fill  the  air  with  perfume.  The  June  showering 
double  varieties  of  Canterbury  bells  could  be  used  in  the  same  way.  In 
China,  for  more  than  fifteen  hundred  years,  a  record  has  been  kept  of 
the  parentage  of  seedlings  of  this  "Hon  Wang"  (king  of  flowers). 
Perhaps  there  is  no  better  authority  on  peonies  than  Horace  Stayner,. 
of  Salt  Lake  City,  from  whom  I  got  my  best  varieties  of  peonies.® 

®Festiva  Maxima  (a  grand  old  variety  of  dazzling  white,  with  splashes  of 
bright  carmine  in  the  center);  Queen  Victoria  (early  white);  Floral  Treasure 
and  Golden  Harvest  (soft  shades  of  pink);  Louis  Van  Hutte  (a  late  dark  red); 
Canisto  (clear  pink,  fragrant);  L.  Esperence  (rose  pink,  very  fragrant);  Frances 
Ortegal  (crimson);  Venus  (beautiful  shell  pink);  Marie  Lemoine  (fine  late 
white):  Rosea  Elegans  (large  rosy  purple);  Delicatisima  (pale  pink).  Of  the 
single  varieties,  Pink  Beauty,  Salmon  Queen,  Newport  Pink,  and  Sutton's 
Scarlet. 


A  Handbook  of  Utah  Art. 


147 


A  corner  in  Mrs.  Allen's  garden.       Wildness  is  its  charm. 

Peonies  begin  to  make  fine  white  rootlets  and  continue  this  growth 
through  winter  and  spring ;  after  the  blooming  season  there  is  a  ripen- 
ing off  time  and  then  a  stage  where  the  plant  is  almost  dormant — this 
is  the  time  for  transplanting,  September  and  October. 

No  garden  can  afford  to  omit  the  stately  blue  delphinium  (lark 
spur).  Plant  in  mass  for  effect.  There  are  wonderful  shades  of  blue, 
which  with  green  make  fine  color  schemes.  The  Siberian  lark  spur 
will  do  well  in  the  shade  of  an  apple  tree.  It  has  a  delicate  feathery  foli- 
age and  the  blossom  sprays  are  loose  and  spreading,  the  whole  plant 
being  a  cloud  of  lovely  bloom  from  May  until  snow  flies. 

Be  sure  to  plant  a  bed  of  Yucca  (Adams  needle)  the  foliage  of 
which  is  of  an  evergreen  nature.  The  tall  flower-spikes  rise  four 
feet  above  the  plant  and  are  decked  with  white  bell-shaped  drooping 
flowers.  A  cluster  of  Ricinus  trees  (castor  oil  beans)  with  a  mass  of 
Nicotiana  near  by,  bordered  with  cannas  and  gladiolus,  will  give  a 
decided  tropical  effect. 

The  Giant  Oriental  Hardy  Poppies  hold  an  unrivaled  position  for 
gorgeous  effectiveness  and  early  blooming  and  are  very  easily  raised. 

The  Hardy  Perennial  and  brilliant  Phlox  are  the  easiest  grown 
flowers.  They  will  thrive  in  almost  any  soil,  if  given  a  sunny  position. 
One  wants  the  Aquilegias  (Columbine),  CoeruleaHybria  being  the  true 


148  Devotees  and  their  Shrines. 

Rocky  mountain  variety  with  long-spurred  flowers  of  white  and  blue. 
My  finest  plant  I  got  at  the  head  of  City  Creek  Canyon. 

Iris. 

There  are  so  many  species  in  the  German  Iris  that  the  classification 
has  become  difficult  but  it  is  safe  to  say  the  bearded  section  contains  the 
best  known  and  most  easily  grown  varieties.  The  flowers  abound  in 
variety  of  color.  They  are  hardy  and  patient,  thriving  under  the  most 
trying  conditions.  Not  long  since  I  visited  the  spot  where  once  stood 
the  log  cabin  (by  the  old  mill)  in  which  my  husband  was  born.  Poking 
among  the  tall  weeds  I  found  the  stone  that  had  been  the  door  step  and 
near  it  was  a  little  bunch  of  Iris  which  had  been  there  for  over  forty 
years.  I  brought  it  home  and  put  it  in  our  Iris  garden  and  it  is  now  one 
of  our  finest  plants.  Japanese  Iris  is  much  more  beautiful  than  the  Ger- 
man varieties  and  is  perfectly  hardy.    It  is  very  good  in  borders. 

Fall  Flowers. 

The  Dahlia  is  one  of  the  best  for  summer  and  autumn  flowering. 
The  double  and  single  sorts  when  massed  make  a  beautiful  showing. 
Cosmos  can  be  planted  with  good  effect.  Chrysanthemums  are 
the  best  autumn  flowers  and  can  be  raised  in  mass  or  borders.  Hardy 
Perennials,  if  used  in  borders,  make  a  wonderful  showing.* 

Invincible  Asters  are  the  healthy,  robust  branching  plants  pro- 
ducing long  stems  of  massive  double  flowers.  White,  blue  lavender, 
crimson,  pink,  are  some  of  the  many  varieties.  When  massed  they  make 
a  fine  showing,  but  do  better  in  the  vegetable  garden  for  cutting  pur- 
poses. Godetia,  a  very  beautiful  low  growing  plant  with  rose-like 
flowers,  does  well  in  poor  soil  and  grows  where  no  other  flowers  will 
thrive. 

Petunias  are  among  the  most  beautiful  of  all  annuals,  particularly 
the  frilled  varieties.  Massed  with  a  border  of  verbenas  they  are  a  beauti- 
ful sight  from  early  spring  until  snow  flies.  The  annual  lark  spurs  are 
greatly  improved  and  very  useful  for  cutting.  Make  a  bed  of  them 
in  pale  pink  and  lavender  colors.  Salpiglasses  (painted  tongue)  Salvia 
Splenreus — flowering  sage — with  a  border  of  Phlox  Drumunda  makes 
a  fine  color  scheme  in  red ;  for  blue,  the  double  blue  corn  flower  with 
Blue  Annual  Lark  Spur  and  Ageratum  used  for  the  border;  for 
yellow,  Calliopsis,  Coreopsis,  Calendula  and  Eschschoetiza  for  the 
border.  If  one  wants  a  screen  along  a  fence  a  fine  color  effect  in  yellow 
may  be  obtained  by  planting  sunflowers.  Globes  of  Gold,  (Hilineum), 
Golden  Glow,  Coreopsis,  Calendulas  and  day  lilies. 

♦Calliopsis,  Aquilegia,  Campanula,  Delphinium,  Dianthus,  Digitalis,  Gaillardia, 
Gypsophila,  Lobelia,  Cardinalis,  Oriental  poppy,  Scabiosa,  Sweet  williams.  Double 
wall  flowers. 


A  Handbook  of  Utah  Art.  149 


Mr.  Allen's  shop  with  petunia  bed  and  Allen's  everblooming  roses, 

border  of  verbenas. 

THE  DEAR  OLD  GARDEN. 

BY  DR.  EMMELINE  B.  WELLS. 

My  dear  old  garden !  still  I  call  it  mine, 
And  mine  it  is,  for  in  its  grateful  shade 

Of  ev'ry  tree,  and  shrub,  and  flow'ring  vine, 
My  children  and  my  children's  children  played. 

Round  these  my  aching  heart  instinctive  clings, 

And  they  to  me  are  sweet  and  tender  things. 

Under  these  trees  I've  sauntered  to  and  fro, 

In  search  of  hidden  gems  of  precious  thought ; 

Perchance  some  wayward  fancies  all  aglow 

Have  been  in  chains  of  measured  rhythm  caught, 

For  rustling  leaves  and  sighing  boughs  have  stirred 

The  depths  of  love  no  living  voice  hath  heard. 

And  here  young  lovers  plighted  vows  have  given, 
And  sealed  them  with  the  first  fond  ling'ring  kiss 

That  hallows  love,  and  makes  earth  seem  a  heaven, 
A  sweet  enchanted  dream  of  rapturous  bliss. 

When  two  pure  hearts,  in  confidence  and  truth 

Unite  their  joys  and  hopes  in  early  youth. 

These  trees,  and  shrubs,  and  every  bush  and  vine. 
We've  watched  from  tiniest  seed  and  stem ; 

Why  then  should  I  not  always  call  them  mine? 
For  in  my  heart  of  hearts  I  treasure  them — 

No  matter  how  neglected  now  they  be. 

They  were  a  part  of  my  home  life  to  me. 

Yes,  I  remember  sitting  there  so  well, 

With  baby  in  my  arms  and  children  round. 


150  Devotees  and  their  Shrines. 

And  a  sweet  peace  hung  o'er  me  like  a  spell. 

While  the  white  blossoms  fluttered  to  the  groun( 
For  the  young  apple  trees  were  just  in  bloom, 
And  we  were  breathing  in  their  sweet  perfume. 

O,  how  the  childish  voices,  loud  and  clear. 
Rang  out  in  laughter  and  in  merry  song! 

No  wonder  that  to  me  the  place  is  dear, 
To  which  so  many  memories  belong. 

O,  would  those  days  but  come  to  me  again, 

'Twould  ease  my  heart  of  all  this  racking  pain! 

O,  little  ones  'mong  the  long  tangled  grass, 

Where  buttercups  and  clover  nestled  down. 
Or,  like  a  shadow,  flitting  as  you  pass 

.  To  gather  hollyhocks  in  "silken  gown ;" 
Or  pull  the  morning-glories  from  the  vine 
Which  gaily  round  the  fav'rite  tree  entwine. 

The  honeysuckles  fragrant  were  and  fair. 

And  on  them  humming-birds  swung  to  and  fro. 
But  something  fairer,  sweeter  still,  was  there, 

A  little  maiden  singing  soft  and  low. 
O,  that  melodious  voice  we  hear  no  more. 
Save  in  our  dreams  it  echoes  o'er  and  o'er. 

My  garden  when  the  world  was  dark  and  cold, 
And  troubles  gathered  thickly  round  my  way, 

I  wandered  there  my  feelings  to  unfold; 
*Twas  there  I  knelt  upon  the  ground  to  pray. 

In  that  old  garden  thro'  the  ma'ze  of  years, 

I  scan  life's  pages,  blurred  wnth  mists  of  tears! 


A  color  bchciiic  ui  j^i^eu  and  blue  in  Mrs.  Allen's  garden. 


A  Handbook  of  Utah  Art.  151 

THE  COTTAGE.     S.  C.  DALLAS. 

If  our  object  is  to  build  a  home  for  a  peaceful  and  unpretending^ 
mind,  we  must  not  erect  a  building  fit  for  the  abode  of  wealth  and 
pride.  However  beautiful  and  imposing  in  itself,  such  a  home  would 
indicate  a  kind  of  existence  wholly  unsuited  to  that  mind,  and  there 
could  exist  no  sympathy.  But  where  the  dwelling  is  in  unison' with  the 
inmates  and  the  surroundings,  then  indeed  is  art  attained!  This 
principle  is  involved  in  the  wigwam  and  the  te-pee  just  as  it  is  in  the 
cottage  and  the  palace.  Ugliness  can  not  be  concealed  by  lavish  orna- 
ment. What  might  have  been  a  cottage  of  picturesque  grace  if  left  in 
modest  plainness,  may  be  so  overloaded  with  worthless  trash  that  its 
original  expression  is  lost.  Even  conspicuous  cheapness  is  not  neces- 
sarily unpleasant  to  the  cultured  mind ;  but  dishonesty,  such  as  forcing 
a  material  to  appear  what  it  is  not, — that  old  hypocrisy  that  is  despised 
everywhere — we  can  not  palliate.  Granite  can  not  be  made  out  of 
sheet  iron.  There  is  a  deeper  honesty  than  that  which  relates  to 
material  and  construction,  it  is  a  conscientiousness  of  purpose,  an  artis- 
tic spiritual  sense  of  eternal  fitness  without  which  there  can  be  no  lasting 
beauty. 

It  is  a  solemn  thing  to  build  even  the  outside  of  a  home,  for  it 
not  only  influences  your  fellow  men,  but  reveals  your  own  character. 
Houses  have  a  facial  expression  as  marked  as  that  of  human  beings, 
often  strangely  like  their  owners.  Some  destroy  one's  faith  in  human 
nature ;  others  look  impudently  defiant ;  many  reveal  vanity ;  a  few 
show  spreading  hospitality  or  superficial  elegance ;  some  are  a  hetero- 
geneous importation  from  every  land.  Every  man  instinctively  desires 
a  comfortable,  convenient,  healthful,  happy  and  beautiful  home.  That 
is  his  right  and  duty.  Small  and  humble  it  may  be  as  to  cost,  but 
secure,  refined,  and  the  dearest  spot  on  earth. 

The  cottage  is  at  its  best  unspoiled  by  town  sophistications ;  where  , 
it  nestles  in  the  midst  of  an  orchard  of  trees,  with  the  luxuriant  rose 
trained  gracefully  over  the  window,  the  gleaming  lattice  thrown  half 
open  to  admit  the  fragrant  laden  breeze  and  the  broad  wooden  porch 
breaking  the  flat  of  the  cottage  face  by  its  projection.  Its  power  is  the 
poiver  of  association ;  its  beauty  that  of  fitness. 

The  architect  studies  the  house  plan  from  the  viewpoint  of  the 
owner  and  adheres  to  it.  If  the  plan  be  prudent,  all  things  will  grav- 
itate toward  it  and  a  mutual  dependence  will  be  established  among  all 
Darts  of  the  domestic  system.  Arrangement  and  convenience  can  not 
be  thrust  upon  a  plan  but  must  be  a  part  of  the  construction.  A  build- 
ing which  boldly  bids  us  admire,  we  can  only  despise. 

The  notion  that  there  can  be  an  architectural  fashion,  or  fashion 


152 


Devotees  and  their  Shrines. 


in  any  other  enduring  work  of  art,  is  absurd.  Neither  can  an  ingen- 
ious combination  of  "Neo  Greek,"  ''Gothic  decadence,"  ''Norman 
renaissance,"  Elizabethan  or  Louis.  XV  school,  have  any  place  in  the 
cottage. 


MOUNTAIN  CAMP. 

Select  the  campsite  carefully,  studying  how  best  to  satisfy  the 
family  needs.  Choice  of  location  may  hinge  on  the  mode  of  transpor- 
tation to  camp  and  the  frequency  with  which  the  bread-winners  must 
return  to  business  in  town.  But  wherever  the  choice  may  lead,  pro- 
vide room  enough  for  seclusion  from  neighbors.  A  hundred  feet 
frontage  should  be  allowed.  The  view  point  should  be  fine,  and  the 
water  supply  pure,  nearby  and  abundant.  The  camp  must  be  set  up 
where  the  morning  sun  will  reach  it  and  never  built  down  on  the  bank 
of  the  creek.  The  whole  house,  doors,  porches  and  windows,  must  be 
screened  from  the  fever  breeding  flies,  and  so  constructed  as  to  also 
exclude  rodents.  At  least  one  room  should  be  so  built  that  in  cool  or 
wet  weather,  it  may  be  closed  and  easily  heated  by  means  of  fireplace  or 
stove.    There  must  be  airy  porches  or  the  house  should  be  convertible 


A  Handbook  of  Utah  Art.  153 

by  devices,  into  a  screened  porch.     There  must  be  a  well  built  toilet, 
screened  as  perfectly  as  the  house,  and  furnished  with  a  dry  vault. 

What  is  more  soothing  to  the  tired  brain  than  the  song  of  the 
mountain  stream  ?  Build  near  it.  Water  is  easily  polluted,  so  watch  the 
stream  above  you  and  your  own  camp.  All  campers  below  are  alike 
dependent  upon  this  source  of  water  supply — History  tells  us  that  a 
few  disease  germs  have  many  times  caused  a  typhoid  epidemic  in  the 
city  below. 

Building  material  for  the  camp  will  largely  depend  on  what  is 
available  on  the  spot.  The  design  for  the  illustration  given  would  be 
most  charming  in  the  rustic  style,  if  built  of  pine  logs  with  the  ends 
of  the  logs  projecting  beyond  the  walls  at  the  four  corners.  The  in- 
terior of  this  could  be  made  tight  by  hewing  the  logs  on  the  inside  and 
on  the  upper  and  lower  edges — this  makes  a  perfect  join.  In  keeping 
with  this  style  leave  the  rafters  exposed  and  place  the  roof  sheeting 
close  together.  This  same  house  is  designed  to  be  constructed  with 
much  less  expensive  material  than  logs — ship-lap  and  rough  dimen- 
sions timber,  at  a  cost  of  $500.  Now  apply  a  preservative  and  a  beau- 
tifier  in  the  shape  of  a  coat  of  paint  for  either  logs  or  ship-lap.  Give 
one  coat  of  paint  inside  and  out,  made  with  equal  parts  linseed  oil  and 
creosote,  and  tinted  with  asphaltum  pitch  to  give  a  warm  brown  tone. 
This  coat  of  paint  will  also  make  the  cabin  bug  proof.  Cobble  stone, 
or  field  stone,  though  it  might  prove  more  expensive,  would  be  suitable 
for  this  house  and  would  offer  better  protection  from  both  excessive 
heat  and  cold. 

The  roof  of  any  canyon  home  should  have  as  much  slant  as  can  be 
obtained,  so  that  the  heavy  falls  of  snow  may  move  off.  There  is 
otherwise  danger  of  the  roof's  breaking. 

Give  some  thought  to  the  camp's  paths  and  approaches.  A  grad- 
ual slope  should  be  made  to  a* high  camp.  A  steep  climb  seems  and 
really  is  more  difficult  than  in  the  valleys.  How  much  bet- 
ter it  is  to  make  the  furniture  suit  the  style  of  the  house,  add  to  con- 
venience, and  save  expense  than  to  haul  up  the  mountains  the  ugly 
furniture  one  wants  to  get  rid  of  at  home!  Now  that  our  boys  and 
girls  are  learning  at  school  how  to  construct  furniture,  they  gladly 
make  what  is  necessary. 

A  mountain  home  is  charming  painted  straw  color  and  white. 

A  light  outing  effect  may  be  secured  by  painting  this  house  white 
outside  and  the  roof  green ;  the  furniture  white  and  the  walls,  ceilings, 
and  floors  treated  with  the  creosote,  etc.,  already  referred  to. 

This  whole  scheme  would  also  be  charming  with  the  linseed  oil 
and  creosote.  This  house  may  be  built  of  siding.  The  walls  consist 
mostly  of  windows.     Fixtures  for  lights  could  be  made  between  win- 


154 


Devotees  and  their  Shrines. 


dows  by  materials  at  hand — from  bits  of  odd-shaped  Hmbs  from  maple 
or  birch  or  scrub  oak.  The  few  steps  out  of  doors  that  must  be  built 
should  also  be  in  keeping  with  the  tree  growth  surrounding.  Odd  tree 
trunks  may  be  adjusted  to  make  very  artistic  steps  and  the  bridges, 
too,  offer  a  subject  for  beautifying  the  whole  mountain  home. 


a  hce 


SUii-ao  "Door 

Torch  e.'b  %vt.(1  ft-e^roaim. 


ta.b\e 
and 
b€irich«> 

vy»r€-^cr€<ixnvQ^  b-etw/ecn  -WiDs. 


>noYab")e  Cott^kci 


I  have  here  sketched  an  arrangement  that  would  make  com- 
fortable interiors  for  cabins,  keeping  in  mind  that  the  dining  room 
porch  should  be  protected  at  least  at  one  end.  The  living  room  is  sup- 
plied with  a  fireplace,  and  by  closing  the  sliding  door  it  may  be  easily 
warmed.  In  the  heat  of  day,  the  sliding  door  is  opened,  converting 
the  living  room  into  a  part  of  the  large  screened  porch.   ' 


A  MOUNTAIN  CLIMB. 

The  climb  is  a  hard  one,  and  takes  about  thirteen  hours  from 
camp  to  the  summit  and  return.  But  the  inspiration  we  receive  is 
just  compensation.  Timpanogos  is  the  highest  mountain  in  the  Wa- 
satch Range,  having  an  elevation  of  11,957  feet.  It  is  conceded  by 
those  who  have  seen  its  varying  moods  of  even  a  single  day,  to  be  the 
most  beautiful  mountain  in  Utah  and  the  equal  in  majesty,  scenery 
and  scientific  interest  of  any  in  the  world. 

Mount  Timpanogos  is  really  the  ''Ancient  of  Days"  in  the  inter- 
mountain  country  as  is  evidenced  by  its  glacier  and  moraines.  These 
link  it  with  the  glacial  period  of  Northeastern  North  America  and  of 


A  Handbook  of  Utah  Art. 


155 


DR.  F.  W.  TAYLOR  AND  PARTY  CLTMBTNG  TTMPANOGOS  IN 

AUGUST. 


DR.  TAYLOR'S  PARTY  AT  THE  GLACIAL  LAKE  ON  THE  SUMMIT 
OF  MOUNT  TIMPANOGOS. 


156  Devotees  and  their  Shrines. 

Europe.  The  glacier  is  approximately  one  mile  long  and  a  quarter 
of  that  distance  wide,  carrying  upon  its  back  thousands  of  tons  of  rock 
as  lateral  and  central  moraines.  The  depth  of  the  ice  has  not  been 
determined.  The  glacier  has  formed  at  its  end  a  small  glacial  lake 
which  receives  the  icebergs  from  the  glacier  and  the  terminal  moraines 
as  the  ice  melts.  The  little  lake  supplies  the  numerous  waterfalls  that 
make  the  trip  to  Mount  Timpanogos  so  delightful.  Its  flora  is  the 
same  as  now  predominates  in  Iceland  and  Greenland  furnishing  us  a 
simple  object  lesson  of  the  inaccessible  polar  countries  and  climes. 

CITY  PRIDE. 

AN   ADDRESS   IN    SEVENTEENTH    WARD    CHAPEL. 

I  hold  as  a  fundamental  principle  of  good  government  that  each 
citizen,  whether  rich,  poor,  sick,  well,  old  or  young,  should  be  re- 
quired by  the  commonwealth  of  which  he  is  a  necessary  unit,  to 
do  his  just  portion  of  labor  in  making  and  sustaining  a  healthful  and 
beautiful  city.  Our  city  has  not  yet  come  into  a  full  understanding 
of  her  own.  She  should  fasten  upon  her  citizens,  not  only  an  edu- 
cational and  financial  responsibility  but  an  individual,  moral  and 
physical  responsibility.  We  ought  to  have  eflicient  municipal  oflicers. 
Further  than  that,  each  citizen  has  an  individual  responsibility  to  aid 
the  solution  of  these  difficult  problems.  Though  we  are  far  from  the 
millenium,  let  us,  as  a  united  body  of  women,  hasten  the  reign  of 
righteousness  by  a  proper  use  of  our  votes.  Is  it  not  possible  for  us 
to  use  that  trust  so  sacredly  that  no  incompetent  man  shall  seek 
office? 

What  would  you  think  of  an  ordinance  to  compel  residents  or 
land  holders  to  keep  out  weeds?  What  would  result  from  compul- 
sory house  screening,  stable  screening  and  garbage  screening?  What 
would  weekly  moving  of  garbage  and  manure  bring  about?  We  look 
upon  each  citizen  as  an  asset  in  the  municipal  corporation.  The 
citizens  constitute  its  greatest  wealth.  It  has  no  more  important 
problem  than-  providing  the  best  means  for  preserving  health,  to 
lengthen  the  lives  of  the  citizens.  To  complete  man's  happiness  the 
home  is  made,  the  city  founded,  municipal  government  established; 
and  what  gives  more  joy  than  a  clean  and  beautiful  home,  a  clean 
and  beautiful  yard,  a  clean  and  beautiful  city?  I  would  like  to  bring 
to  the  hearts  of  those  present  the  opportunity  that  this  Mutual  Im- 
provement Assoication  has  squarely  before  it,  even  the  privilege  to 
organize  and  utilize  an  enormous  amount  of  energy  (that  is  daily 
wasted,  misdirected,  or  lost)  toward  enriching  soil,  destroying  weeds, 
placing  trees  and  hedges,  planting  vegetable  gardens,  designing  flower- 
beds and  window  boxes  and  making  lawns.     We  could  if  we  would, 


A  Handbook  of  Utah  Art.  157 

make  of  this  city  a  veritable  garden  of  Eden.  Let  us  set  aside  beauty 
for  a  moment  and  become  sordid.  It  would  pay — alas,  that  is  the 
measure  into  which  everything  must  fit,  for  we  are  in  a  commercial 
process  at  the  commercial  stage.  Yes,  it  would  pay!  A  yard,  six 
rods  by  ten,  this  season  produced  fully  $50  in  fruit  and  vegetables,  and 
gave  the  same  profit  for  flowers,  and  over  one  hundred  large  boquets 
for  friends  besides.  So  it  is  a  conservative  estimate  that  I  give  you 
when  I  say  that  within  two  years  from  its  entire  setting  out,  in  the 
form  of  a  park,  a  block  would  be  saving  its  residents  one  thousand  dol- 
lars per  year,  and  furnishing  boquets,  too,  for  friends.  The  residents 
on  any  block  could  unite.  Here  we  are  friends,  relatives,  neighbors 
of  long  standing.  Let  us  take  out  the  unsightly  fences,  mark  our 
property  lines  with  rows  of  flowers,  lay  out  the  block  as  a  park — a 
combined  vegetable  garden,  orchard,  vineyard,  flower  garden  and 
lawn !  It  would  be  beautiful  indeed.  And  who  would  be  content  with 
the  stale  market  product  after  enjoying  fresh  fruit  and  vegetables 
from  one's  own  vine  andftree?  I  believe  that  the  greatest  difference 
between  poverty  and  plei^,  between  poor  living  and  good  living,  is  a 
home  garden.  Then  thii&k  of  that  degraded  poverty  which  never  al- 
lows God's  children  to  see  even  a  bud  unfold. 

Gardening  is  healthful  for  old  and  young. 

There  must  be  early  rising.  Go  out  in  your  own  quiet  garden, 
where  everything  seems  waiting  for  the  sunlight.  Yes,  gardening 
pays  and  in  more  ways  than  one. 

In  parking  a  block,  after  the  fences  are  removed,  the  soil  should 
be  fertilized  by  manure  and  dead  leaves  that  are  available.  What  a 
waste  to  burn  the  leaves,  and  how  dreadful  it  makes  the  atmosphere. 
Walks  should  be  laid  out.  Make  them  broad  to  add  beauty  to  your 
home.  Small  sunny  patches  should  be  filled  with  strawberries,  rhu- 
barb and  asparagus.  More  shady  spots  will  like  English  currants, 
gooseberries,  raspberries,  sage,  parsley,  mint,  summer  savory  and 
thyme.  In  the  hottest  soil  and  sunniest  spots  hang  the  grape  vines 
on  a  pergola  or  lattice.  A  small  grove  of  English  walnuts  and  al- 
monds, will  pay  large  dividends  after  eight  years.  They  are  decor- 
ative from  the  first.  Mr.  J.  T.  Harwood  has  varieties  of  the  walnuts 
that  have  been  acclimated  to  these  parts  so  that  they  will  not  freeze 
down. 

The  "East  side"  has  shown  us  what  is  possible  in  artistic  garden- 
ing here,  but  long  before  that  others  blazed  the  way.  Let  us  hark 
back  to  when  old  "settlers"  did  the  first  planting.  George  A.  Smith 
brought  peach  stones  and  from  them  grew  the  first  peaches  which  were 
given  away  liberally — one  to  a  family  and  each  stone  planted  a  new 
tree.    Thomas  R.  Ellerbeck  got  the  first  rose  bush  cuttings  by  ox  team 


158  Devotees  and  their  Shrines. 

and  within  two  years  after  the  wild  roses  in  every  door  yard  were 
budded  into  lovely  varieties  of  cultivated  roses.  I  have  three  bushes 
of  that  original  stock  transplanted  from  the  Ellerbeck  rose  garden. 
They  have  bloomed  over  fifty  years.  James  Dwyer  planted  the  first 
lawn  on  this  very  block  and  it  is  still  beautiful.  Have  you  forgotten 
the  great  lawn  the  Carrington  girls  made  and  kept  and  that  white 
climbing  rose  on  the  south  wall  of  the  old  home  across  the  street? 
.Think  back  to  the  big  trees  of  white  and  purple  lilacs  and  the  cabbage 
roses  all  ablom  in  Margaret  Ann  Merrill's  door  yard  just  a  stone's 
throw  from  here.  Then  there  are  the  wonderful  old  mountain  willows 
in  the  old  University  grounds.  How  I  loved  to  pass  them.  But  alas, 
the  day  that  I  found  the  most  beautiful  of  those  monarchs  of  the 
ground  lying  broken ;  helpless  to  lift  their  dainty  green.  They  were  al- 
ways first  to  open  their  buds  in  spring !  Think  of  destroying  a  half  block 
of  trees  with  a  history  to  make  a  place  in  which  boys  and  girls  might 
drill  and  play  when  a  hundred  blocks  lay  empty  at  the  top  of  the 
hill.  Trees  that  if  they  could  speak,  could  tell  the  story  of  hunters 
with  the  flint  and  arrojv,  of  dry,  parched  desert  places,  of  the  entrance 
to  this  valley  of  the  pale  face,  of  the  first  breaking  of  soil,  the  birth 
of  the  science  irrigation,  the  hiding  of  the  desert's  nakedness  beneath 
a  mantle  of  green — in  a  word,  witnesses  of  all  our  fathers  have  done. 
Year  by  year  the  grand  old  willows  had  lovingly  reached  out  in  newer 
beauty;  making  shadier  seats — seats  you  and  I  have  sought  for  study 
periods.  And  now  m}''  heart  ached,  my  voice  choked  with  tears,  when 
my  startled  vision  beheld  them  ruthlessly  cut  down.  Now  no  repent- 
ant hand  could  recall  the  work  of  the  cruel  ax.'  A  few  were  spared, 
near  the  work-shops  and  on  the  side  walk;  though  cut  out  of  all  true 
shape  they  still  retain  the  same  wonderful  color  and  artistic  feeling. 

We  have  a  beautiful  city,  she  has  been  set  upon  hills,  slopes  that 
look  out  on  a  wonderful  inland  sea.  She  is  guarded  and  girded 
around  by  mighty  mountains,  crowned  with  everlasting  snows,  veiled 
with  marvelous  shades  of  blue.  She  is  blessed  with  clear,  cooling 
streams,  fresh  from  ten  thousand  springs.  Her  soils  vary  from  sandy- 
graveled,  loamy  to  clayey  earth  and  all  can  be  made  to  grow  some 
lovely  thing. 

Can  we  honestly  lift  our  eyes  in  praise  and  thanksgiving  to  God 
for  these  blessings  and  permit  the  very  earth  under  our  feet,  our  onm 
inheritance,  the  sod  encompassing  our  sacred  hearth  stones,  to  lie  inert 
forbidding  in  barren  ugliness,  or  worse,  matted  with  zveeds  to  scatter 
seed-like  a  foul  contagion  upon  our  neighbor's  garden?  It  seems  to 
me  the  very  ground  upon  which  we  tread  from  day  to  day  and  from 
year  to  year  would  recoil  from  our  touch  being  forever  denied  seed 
and  love! 


FINIS. 

Are  you  weak  in  the  faith  of  your  own  destiny  ?  Or  does  your  ef- 
fort seem  of  little  avail  ?  Remember  that  on  you  depends  the  success  of 
the  whole  scheme  of  existence.  Your  failure  is  not  only  your  own 
tragedy.  It  is  a  tragedy  of  the  whole.  Then  discover  your  endow- 
ment and  make  use  of  it  lest  regret,  the  Great  Judge,  at  the  last  hour, 
turn  back  the  pages  to  lay  his  finger  upon  lost  courage,  lost  time, 
lost  energy,  lost  hope! 


Contents. 


FOREWORD,  7. 

INTRODUCTORY,  8. 

HISTORIC.  Extract  from  Whistler's  Ten  O'clock,  17;  Cliff  Dwellers'  Pottery, 
18;  Architecture  in  the  Early  Fifties,  20;  The  First  Art  School,  21;  William 
Folsom  and  Amelia  Folsom  Young,  22;  E,  L.  T,  Harrison,  23;  George  M. 
Ottinger,  24;  Daniel  Weggeland,  21;  C.  C.  A.  Christensen,  29;  The  Organ 
Builder,  30;  Ralph  Ramsey,  32;  William  Paul  and  Priscilla  P.  Jennings,  34; 
Alfred  Lambourne,  36. 

Poem,  At  My  Easel,  38. 

John  Hafen,  41;  Hafen's  Letter,  46. 

WINNERS  OF  HONORS  ABROAD,  51.  James  T.  Harwood,  51;  Mary 
Teasdel,  56;  Rose  Hartwell,  65;  Lee  Greene  Richards,  72;  Interior  Memorial 
Cottage,  74;  Alma  B.  Wright,  82;  Mahonri  M.  Young,  85;  B.  H.  Roberts' 
Story  of  the  Sea  Gulls,  90;  Donald  Beauregard,  94;  Dallin,  95;  Myra  Sawyer, 
100;  Ralston  Gibbs,  Girard  Hale,  Louise  Richards  Farnsworth,  Avard 
Tennyson  Fairbanks,  101. 

ARTISTS  OF  VARIED  ATTAINMENTS,  103.  The  Fairbankses,  103;  Lorus 
Pratt,  106;  Harriett  Richards  Harwood,  107;  Lara  Rawlins  Cauffman,  108; 
G.  Wesley  Browning,  109;  H.  L.  A.  Culmer,  110;  Edwin  Evans,  111;  Byron 
Cummings,  Archaeologist,  113. 

Utah  Art  Institute,  64,  103;  Present  home  of  Alice  Art  Collection,  112. 

APPLIED  ART,  116.  Emma  Frances  Daft,  116;  Margaret  Merrill  Fisher,  118; 
Louise  E.  Jennings,  119. 

HISTORY  OF  ARCHITECTURE,  by  George  M.  Allen,  120.  Preface,  120; 
Architecture  in  England,  121.  The  Transition  to  the  Rennaissance,  122; 
Elizabethan  Style,  123;  Jacobean  Style,  Classic  Period,  124;  The  Classic 
Revivals,  128;  The  Victorian  Gothic,  129.  Architecture  in  the  United  States, 
131.  Colonial  Period,  132;  The  Early  Republican  Period,  134;  The  Revivals, 
135;  The  War  Period,  136;  The  Modern  Movement,  137;  Examples  of 
Recent  Architecture,  140. 

Ensign  Ward  Chapel,  142. 

Artistic  Gardening,  144. 

Poem,  The  Dear  Old  Garden,  by  Dr.  E.  B.  Wells,  President  National  Woman's 
Relief  Society,  149. 

The  Cottage,  by  Architect  S.  C.  Dallas,  151. 

Mountain  Camp,  152;  Timpanogos,  154. 

City  Pride,  156. 

Finis.  159. 


